HEDRICK  HALL  LIBRARY 


SHAKESPEARE'S 


COMEDY   OF 


AS    YOU    LIKE    IT. 


EDITED,  WITH  NOTES, 


WILLIAM   J.  ROLFK,  Lirr.D., 

FOKMERLY    HEAD    MASTBR   OF  THE    HIGH    SCHOOL,  CAMHHIDGB,   MASS. 


ll'/r/f  EXGRAl'lNGS. 


M-.\V    YORK    AM'    LONDON  : 

11  A  R  l>  K  k    X     II  U  O  T  II  I.  k  S,    1'  U  I!  I.  I  S  II  V.  k  S, 
,897. 


ENGLISH     CLASSICS. 

EDITKD  BY  WM.  J.  ROLFE,  LITT.  D. 

Illustrated.      i6mo,  Cloth,  .56  cents  per  volume :    Paper,  40  cents  per  volume. 


SHAKKSPI 

Tlie  Merchant  of  Venice. 

Othello. 

Julius  Cassar. 

A  Midsummer-Night's  Dream. 

Macbeth. 

Hamlet. 

Much  Ado  about  Nothing. 

Romeo  and  Juliet. 

As  You  Like  It. 

The  Teni|>est. 

Twelfth   Night. 

The  Winter's  Tale. 

Kins;  John. 

Richard  II. 

Henry  IV.     Part  I. 

Henry  IV.     Part  II. 

Henry  V. 

Henry  VI.     Part  I. 

Henry  VI       Part  II. 

Henry  VI.     Part  III. 


RE'S  WORKS. 
Richard  III". 
Henry  VIII 
King  Lear. 

The  Taming  of  the  Shrew. 
A;\  '-,  Wei,' that  Ends  Well. 
Coriolanus. 

The  Comedy  of  Krrors. 
Cymbeline. 

Antony  and  Cleopatra. 
Measure  for  Measure. 
Merry  Wives  of  Windsor. 
Love  s  Labour  's  Lost. 
Two  Gentlemen  of  Verona. 
Timon  of  Athens. 
Troilus  and  Cressida. 
Pericles.  Prince  of  Tyre. 
The  Two  Noble  Kinsmen. 
Venus  and  Adonis,  Lucrece,  etc 
Sonnets. 
Titus  Andronicus. 


GOLDSMITH'S  SELECT  POEMS. 

GRAY'S  SELECT  POEMS. 

MINOR  POEMS  OK  JOHN  MII.TON. 

WORDSWORTH' 


BROWNING'S  SELECT  POEMS. 
BROWNING'S  SELECT  DRAMAS. 
MACAI;I,AY'S  LAYS  OF  ANCIENT  ROME 
s  SELECT  POEMS. 


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Copyright,  1X77,  by  HAUIT:K  &   BROTIIKUS. 


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Library 


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.UN. 


CONTENTS. 


INTRODUCTION  TO  As  You  LIKE  IT 9 

I.  THE  HISTORY  OF  THE  PLAY 9 

II.  THE  SOURCES  OF  THE  PLOT 1 1 

III.  CRITICAL  COMMENTS  ON  THE  PI.AY 1 1 

AS  YOU  LIKE  IT 27 

ACT  1 29 

"  II 48 

"  III 66 

"  IV 89 

"  V 102 

NOTKS 117 


THE    FOREST   OF    ARDKN. 


I N  T  R  O  D  U  C  T I  O  N 


AS    YOU    LIKE    I  T. 


I.    TIIF.    HISTORY    OK    THF.    i'l.AY. 

As  You  Like  It  was  first  prink'd,  so  far  as  we  kno\v,  in  the 
folio  of  1623.  where  it  occupies  pages  185-207  in  the  division 
of  "  Comedies."  The  earliest  notice  ot  it  bv  name  is  found 
in  the  Registers  of  the  Stationers' Company,  on  a  leal  which 
does  not  belong  to  the  regular  records,  but  contains  miscel- 


io  AS  YOU  LIKE  IT. 

laneous  entries,  notes,  etc.  Between  two  of  these,  the  onft 
dated  in  May,  1600,  and  the  other  in  June,  1603,  occurs 
the  following  memorandum  :* 

4.  August! 

As  you  like  yt  /  a  booke 
Henry  the  ffift  /  a  booke 


Euery  man  in  his  humour  /  a  booke 
The  commeclie  of  muche  A  doo  about  nothing 
a  booke  / 


Kto  be  staied. 


All  these  "books"  are  stated  to  be  "my  lord  chamberlens 
menns  plaies,"  which  confirms  Malone's  opinion  that  the  en- 
try refers  to  the  year  1600.  Henry  V.  and  Much  Ado  About 
Nothing  were  duly  licensed  (the  former  on  the  i4th  and  the 
latter  on  the  23d  of  August)  and  published  that  year  ;  and 
it  is  not  likely  that  the  plays  would  have  been  "staied"  after 
the  publication  of  two  of  them.  The  prohibition  was  prob- 
ably removed  soon  after  it  was  recorded  ;  and,  as  Halliweli 
suggests,  the  clerk  may  not  have  considered  it  worth  the 
formality  of  a  note  in  the  body  of  the  register. 

On  the  other  hand,  As  You  Like  It  is  not  mentioned  by 
Meres  in  his  enumeration  of  Shakespeare's  plays f  in  2\il- 
ladis  Tamia,  which  was  published  in  September,  1598  ;  and 
it  contains  a  quotation  (see  iii.  5.  80)  from  Marlowe's  Hero 
and  Leander,  the  earliest  known  edition  of  which  appeared  in 
the  same  year.  It  may  therefore  be  reasonably  concluded, 

*  We  print  this  as  Wright  gives  it.  In  Halliwell's  folio  ed.  it  appears 
thus  : 

4  August!. 

As   yc.u   like   yt,  a   hook.     Henry    the    ffift,  a    book.     Kvery    man  j 
in  his  humor,  a  book.     The  Commeclie  of  Much  Adoo  about  nothinge,  |  To  be  staied. 
a  book.  ) 

Collier  gives  it  twice  (in  the  introductions  to  Alitch  Ado  and  A.  Y.  /,.), 
but  the  versions  do  not  agree  with  each  other  or  with  either  of  the  above. 
The  matter  is  of  little  importance,  and  we  refer  to  it  only  as  illustrating 
one  of  the  minor  trials  of  an  editor  who  cannot  refer  to  original  docu- 
ments, but  has  to  depend  on  copies  made  by  others. 

t  See  the  passage  in  our  ed.  of.]/.  .V.  J),  p.  y. 


INTRODUCTION. 


II 


as  nearly  all  the  commentators  agree,  that  As  You  Like  It 
was  written  between  September,  1598,  and  August,  1600: 
probably  in  the  year  1599. 

II.    THE   SOURCES    OF    THE    PLOT. 

Shakespeare  was  chiefly  indebted  for  the  story  of  the  play 
to  a  novel  by  Thomas  Lodge,  published  in  1590  under  the 
title  of  "  Rosalynde,  Euphues  Golden  Legacie,  found  after 
his  death  in  his  Cell  at  Silexedra,  bequeathed  to  Philautus 
sonnes  noursed  up  with  their  father  in  England,  Fetcht  from 
the  Canaries  by  T.  L.,  gent.,  Imprinted  by  T.  Orwin  for  T.  G. 
and  John  Busbie,  1590."*  This  book  was  reprinted  in  1592, 
and  eight  editions  are  known  to  have  appeared  before  1643. 
How  closely  the  poet  followed  the  novel  may  be  seen  by  the 
extracts  from  the  latter  printed  in  our  Notes  below. 

We  may  add  here  that  Lodge  took  some  of  the  main  in- 
cidents of  his  novel  from  The  Cokes  Tale  of  Gamclyn,  which 
is  found  in  a  few  of  the  later  manuscripts  of  the  Canterbury 
Tales  of  Chaucer,  but  which  the  best  editors  of  that  poet 
believe  to  be  the  production  of  another  writer. 

III.  CRITICAL  COMMENTS  ON  THE  PLAY. 
[From  HaziitCs  '•Characters  of  Shakcsfcars  /'/,m."t] 
Shakespear  has  here  converted  the  forest  of  Ardcn  into 
another  Arcadia,  where  they  "  rleet  the  time  carelessly,  as 
they  did  in  the  golden  world."  It  is  the  most  ideal  of  any 
of  this  author's  plays.  It  is  a  pastoral  drama,  in  which  the 
interest  arises  more  out  of  the  sentiments  and  characters 
than  out  of  the  actions  or  situations.  It  is  not  what  is  done, 
but  what  is  said,  that  claims  our  attention.  Nursed  in  soli- 
tude, "under  the  shade  of  melancholy  boughs,"  the  imagina- 
tion grows  soft  and  delicate,  and  the  wit  runs  riot  in  idleness, 

*  I'o^ibly  the  poet  used  a  lost  play  based  upon  the  novel. 
t  C/iaraftfn  of  S/iai-spear's  Flays,  by  William  llazlitt  (London,  1817), 
p.  305  tol. 


12  AS  YOU  LIKE  IT. 

like  a  spoiled  child  that  is  never  sent  to  school.  Caprice 
and  fancy  reign  and  revel  here,  and  stern  necessity  is  ban- 
ished to  the  court.  The  mild  sentiments  of  humanity  are 
strengthened  with  thought  and  leisure ;  the  echo  of  the  cares 
and  noise  of  the  world  strikes  upon  the  ear  of  those  "  who 
have  felt  them  knowingly,"  softened  by  time  and  distance. 
"They  hear  the  tumult,  and  are  still."  The  very  air  of  the 
place  seems  to  breathe  a  spirit  of  philosophical  poetry  ;  to 
stir  the  thoughts,  to  touch  the  heart  with  pity,  as  the  drowsy 
forest  rustles  to  the  sighing  gale.  Never  was  there  such 
beautiful  moralizing,  equally  free  from  pedantry  or  petu 
lance  : 

"And  this  our  life,  exempt  from  public  haunt, 
Finds  tongues  in  trees,  books  in  the  running  brooks, 
Sermons  in  stones,  and  good  in  everything." 

There  is  hardly  any  of  Shakespear's  plays  that  contains  a 
greater  number  of  passages  that  have  been  quoted  in  books 
of  extracts,  or  a  greater  number  of  phrases  that  have  become 
in  a  manner  proverbial.  If  we  were  to  give  all  the  striking 
passages,  we  should  give  half  the  play.  We  will  only  recall 
a  few  of  the  most  delightful  to  the  reader's  recollection. 
Such  are  the  meeting  between  Orlando  and  Adam  ;  the  ex- 
quisite appeal  of  Orlando  to  the  humanity  of  the  Duke  and 
his  company  to  supply  him  with  food  for  the  old  man,  and 
their  answer;  the  Duke's  description  of  a  country  life,  and 
the  account  of  Jaques  moralizing  on  the  wounded  deer;  his 
meeting  with  Touchstone  in  the  forest,  his  apology  for  his 
own  melancholy  and  his  satirical  vein,  and  the  well-known 
speech  on  the  stages  of  human  life;  the  old  song  of  "  Blow, 
blow,  thou  winter's  wind  ;"  Rosalind's  description  of  the 
marks  of  a  lover,  and  of  the  progress  of  time  with  different 
persons  ;  the  picture  of  the  snake  wreathed  around  Oliver's 
body  while  the  lioness  watches  her  sleeping  prey  ;  Touch- 
stone's lecture  to  the  shepherd,  his  defence  of  cuckolds,  and 
panegyric  on  the  virtues  of  "an  If."  All  of  these  are  familiar 


IN  TROD  UC  T1ON. 


to  the  reader  :  there  is  one  passage  of  equal  delicacy  and 
beauty  which  may  have  escaped  him,  and  with  it  we  shall 
close  our  account  of  As  You  Like  It.  It  is  Phebe's  descrip- 
tion of  Ganymede,  at  the  end  of  the  third  act  :  "Think  not 
I  love  him,  though  I  ask  for  him,"  etc.  [iii.  5.  108-128]. 


[from  I't'rflancFs  Introduction  to  the 

This  comedy,  at  once  romantic,  philosophical,  and  pictur 
esque,  is  in  its  way  one  of  iis  author's  most  peculiar  and 
original  works  —  original,  indeed,  in  everything  but  the  rougli 
materials  of  the  story,  and  peculiar  in  all  its  poetic  and 
dramatic  characteristics.  In  addition  to  the  interest  it  de- 
rives from  its  varied  beauties,  it  has  also  that  of  belonging 
to  a  remarkable  epoch  of  Shakespeare's  intellectual  life  — 
that  of  the  perfection  of  his  art  and  taste  in  that  especial 
walk  of  poetical  comedy  of  which  he  had  been  the  inventor 
and  which  was  the  chief  occupation  of  his  genius  from  the 
beginning  of  his  career  of  dramatic  authorship,  during  the 
brilliant  and  crowded  years  of  his  youth  and  ripening  man- 
hood, until  he  approached  middle  life.  Wiien  he  entered 
upon  that  dramatic  career,  he  found  English  tragedy  not 
such  certainly  as  he  afterwards  made  it,  in  depth  of  passion 
or  in  moral  truth,  yet  fully  formed  as  a  part  of  the  national 
literature,  and  possessing  many  productions  of  great  though 
unequal  merits.  Even  the  tragedies  of  the  preceding  gen- 
eration had  their  share  of  bold  and  true  conception  mixed 
with  their  extravagance,  and  (as  Sir  Philip  Sidney,  the  stern 
censurer  of  their  defects,  allowed)  "were  full  of  stately 
speeches  and  well-sounding  phrases  ;"  while  -Shakespeare's 
immediate  dramatic  predecessors,  Peel  and  Kyd  and  (Iieene, 
were  fertile  in  glowing  imagery  and  invention,  and  Marlowe 
had  clothed  much  magnificence  ot  thought  and  declamatory 
passion  in  that  flowing  and  "mighty  line'"  so  much  admired 

*  Tlu-  Ilntstritttd  Sliah-sfcLti-c,  edited  by  C.  C.  Yerphuck  (New  York. 
1847),  vol.  ii.  p.  5  o!  A.  Y.  I.. 


T4  AS  YOU  LIKE  IT. 

by  his  contemporaries.  Shakespeare  did  not  shrink  from 
measuring  his  strength  with  these  dramatists  at  an  early 
period,  and  —  not  to  speak  of  Pericles,  or  more  doubtful 
pieces — gave  the  bright  promise  of  his  future  glories  in  his 
first  form  of  Romeo  and  Juliet,  and  probably  of  Ilamlet,  as 
well  as  in  the  heroic  scenes  of  several  of  his  historical 
dramas.  But  these  appear  to  have  been  the  occasional 
employment  of  his  genius,  when  excited  by  some  congenial 
theme  ;  while  he  discovered  before  him  a  wide  province  of 
poetic  art  and  invention  unoccupied  by  any  predecessor,  and 
open  to  his  sway.  The  comedy  of  the  English  stage,  so  far 
as  the  drama  could  be  said  to  have  assumed  that  form  at 
all,  was  but  a  coarse  farce,  having  no  higher  or  other  object 
in  view  than  "  to  set  on  some  quantity  of  barren  spectators 
to  laugh."  Shakespeare  seems,  at  the  very  first,  to  have 
formed  to  himself  a  different  conception  of  the  object  and 
character  of  the  poetic  comedy.  Even  in  his  first  regular 
effort,  the  Two  Gentlemen  of  Verona,  he  embodied  his  leading 
idea  as  distinctly  as  in  after-works  of  far  more  exquisite  ex- 
ecution. Of  all  genuine  comedy,  the  delineation  and  ex- 
hibition of  character  must  be  the  foundation;  but  the  pecul- 
iarity of  Shakespeare  is  that  he  does  this  not  merely  in  the 
spirit  of  the  satirist,  or  the  faithful  painter  of  humorous  ab- 
surdity, but  constantly  entwines  and  contrasts  the  whole 
with  the  most  refined  forms  of  grace  and  beauty,  with  the 
poetry  of  fancy,  of  sentiment,  and  even  of  moral  meditation. 
Upon  this  new  and  rich  field  of  invention  he  entered  with 
the  ardour  and  high  relish  of  youth  ;  so  that,  between  the 
year  1584  and  1602.  he  had  given  to  our  language  thirteen 
dramatic  productions,  original  in  their  very  conception  and 
character,  as  combining  exquisite  truth  of  character  and 
scenes  of  the  wildest  drollery  with  romantic  grace  and  evciy 
form  of  purely  poetic  fancy.  I  include  in  these  productions, 
together  with  his  comedies  wiitten  within  the  above  dates, 
the  two  parts  of  Henry  11'.  and  Henry  /'.,  as  stamped  with 


INTRODUCTION.  15 

the  same  characteristics  ;  the  poetry  of  high  heroic  song 
there  supplying  the  same  effect  of  contrast  to  the  mirthful 
that  results  from  the  poetry  of  the  gentler  passions  and  the 
pure  fancy  in  his  professed  comedies.  The  whole  of  these 
were  without  any  model  in  any  preceding  literature,  as  they 
are  without  equals  in  that  of  any  other  age  or  nation.  It  is 
worthy  of  observation  that  the  only  work  of  humour,  in  which 
he  neglected  this  principle  of  contrast,  was  the  Merry  Wives 
of  Windsor,  in  its  earlier  form ;  and  that  he  considered  it  of 
so  much  importance  to  the  effect  of  even  such  a  pure  ex- 
hibition of  contemporary  English  life,  in  its  most  domestic 
aspect,  that  in  his  revision  of  the  play  he  rejected  the  con- 
cluding very  pleasant  and  appropriate  scene,  to  substitute 
some  fragments  of  a  pure  chivalric  and  legendary  poetry. 
For  the  same  purpose  of  enabling  himself  thus  to  associate, 
in  one  mixed  impression  upon  his  audience,  the  higher 
graces  of  imagination  with  laugh-provoking  images  and  in- 
cidents, he  generally  selected  such  scenes  of  action  and 
periods  of  time  as  might  be  associated  wi:h  legendary  and 
romantic  recollections,  instead  of  painting  the  men  and 
women  of  his  country  and  times  in  their  every-day  costume. 

In  separately  analyzing  his  comedies,  it  is  very  perceptible 
how,  in  each  new  effort,  the  work  became  more  peculiarly 
conformed  to  that  pervading  idea  of  poetic  comedy,  while 
the  execution  became  more  perfect  in  itself,  and  more  free 
from  whatever  he  had  imbibed  merely  from  the  taste  of  the 
age  or  the  writings  of  contemporaries.  In  his  first  comedies, 
we  find  the  humour  verging  to  farce,  and  contrasted  chiefly 
with  the  dialogue  of  artificial  though  often  sparkling  wit  ; 
and  when  these  are  relieved,  as  they  so  frequently  are,  by 
purer  poetry,  these  beauties  are  rather  those  of  the  masque, 
the  sonnet,  or  the  pastoral,  then  belonging  to  dramatic  per- 
sonation of  life. 

These  characteristics,  as  well  as  the  rhyming  dialogues, 
were  thrown  aside  more  and  more  in  the  Poet's  progress, 


1 6  AS  YOU  L/A'E  IT. 

while  a  graver  and.  at  times,  a  more  didactic  morality  gradu- 
ally mingled  itscir  with  the  luxuriant  sweetness  of  his  verse, 
and  the  revelling  jollity  of  his  prose  scenes  ;  and  at  the  same 
time  his  wider  intercourse  with  varied  society  is  attested  by 
the  boldness  and  freedom  with  which  he  marks  and  individ- 
ualizes the  personages  who  throng  with  such  infinite  variety 
through  his  crowded  and  living  scenes. 

To  the  close  of  this  progressive  creation  of  the  peculiarly 
Shakespearian,  or  poetic  and  romantic  comedy,  during  the 
brilliant  summer  of  the  author's  youth,  and  to  the  era  of  the 
perfection  of  his  style,  As  You  Like  It  belongs — a  period  of 
the  author's  intellectual  history  which  was  soon  to  end  with 
the  Twelfth  Night ;  after  which  graver  thoughts  took  fuller 
possession  of  his  mind,  and  he  turned  away  from  the  more 
brilliant  aspect  of  the  world  and  the  playful  exposure  of 
its  follies  and  frailties,  to  deal  with  man's  sufferings  and 
crimes,  his  darker  and  sterner  emotions— max  in  rdiictantes 
dm  c ones.  .  .  . 

The  prevailing  characteristic  of  this  comedy  has  been 
noted  by  Mr.  Hallam,  with  his  usual  philosophical  discrim- 
ination; and  it  corresponds  well  with  the  period  of  the  au- 
thor's rapidly  evolving  genius,  as  marked  by  other  evidence. 
"In  no  other  play  do  we  find  the  bright  imagination  and 
fascinating  grace  of  Shakespeaie's  youth  so  mingled  with 
the  thoughtfulness  of  his  maturer  age."  .  .  .  Equally  original 
in  its  poetical  character  with  the  Midsummer-Night's  Dream 
and  The  Tempest,  it  differs  from  both  in  this — that  they  are 
founded  on  the  fanciful  mingling  of  the  supernatural  with 
the  natural,  while  here  all  is  human  and  natural,  and  yet 
throughout  it  is  idealized  truth.  The  time  and  place  and 
manners  arc  thrown  out  of  the  definite  into  the  undefined 
time  and  region,  where  and  when  the  heroes  and  ladies  of 
chivalric  poetry  were  wont  to  "fleet  the  time  carelessly  ns 
they  did  in  the  golden  world."  Charles  Lamb  used  to  call 
Lores  Labour  s  Lost  the  "  Comedy  of  Leisure,"  because  its 


INTROD  UC  TION.  T  7 

personages  not  only  "led  purely  ornamental  lives"  but  were 
well  content  to  do  so,  and,  having  nothing  to  do,  did  it  agree- 
ably. He  might  havfe  given  the  title  in  a  higher  sense  to 
As  You  Like  It,  where  the  pervading  feeling  is  that  of  a  re- 
fined and  tasteful,  yet  simple  and  unaffected  throwing  off 
the  stiff  "lendings"  of  artificial  society:  and  this  is  done  by 
those  who  had  worn  those  trappings  with  ease  and  grace. 
The  humour  too  is  toned  down  to  suit  the  general  impres- 
sion, being  odd,  fanciful,  gay,  and  whimsical,  without  much 
connection  with  the  more  substantial  absurdities  of  the  real 
"  work-day  world."  As  You  Like  It  is  less  magnificent  than 
the  Merchant  of  Venice,  which  had  not  long  preceded  it,  and 
less  exhilarating  than  the  Twelfth  Night,  which  soon  followed 
it ;  and  yet  it  keeps  up  and  leaves  a  more  uniformly  pleas- 
urable impression  than  either. 

[From  .1/rs.  Janicsoii's  "  Characteristics  of  Women."  *] 
Rosalind  is  like  a  compound  of  essences,  so  volatile  in 
their  nature,  and  so  exquisitely  blended,  that  on  any  attempt 
to  analyze  them,  they  seem  to  escape  us.  To  what  else  shall 
we  compare  her,  all-enchanting  as  she  is?  —  to  the  silvery  sum- 
mer clouds  which,  even  while  we  gaze  on  them,  shift  their 
hues  and  forms,  dissolving  into  air,  and  light,  and  rainbow 
showers  ?— to  the  May-morning,  flush  \vith  opening  blossoms 
and  roseate  dews,  and  "  charm  of  earliest  birds  ?" — to  some 
wild  and  beautiful  melody,  such  as  some  shepherd  boy  might 
"pipe  to  Amaryllis  in  the  shade?" — to  a  mountain  streamlet, 
now  smooth  as  a  mirror  in  which  the  skies  may  glass  them- 
selves, and  anon  leaping  and  sparkling  in  the  sunshine — or 
rather  to  the  very  sunshine  itself  ?  for  so  her  genial  spirit 
touches  into  life  and  beauty  whatever  it.  shines  on  !  ... 

Everything  about  Rosalind  breathes  of  "youth  and  youth's 
sweet  prime."     She   is  fresh   as   the   morning,  sweet   as  the 
dew-awakened  blossoms,  and  light  as  the  breeze  that  plays 
*  American  cd.  (lioston,  1857),  p.  no  lul. 

ii 


1 8  AS  YOU  LIKE  IT. 

among  them.  She  is  as  witty,  as  voluble,  as  sprightly  as 
Beatrice;  but  in  a  style  altogether  distinct.  In  both,  the  wit 
is  equally  unconscious;  but  in  Beatrice  it  plays  about  us  like 
the  lightning,  dazzling  but  also  alarming;  while  the  wit  of 
Rosalind  bubbles  up  and  sparkles  like  the  living  fountain, 
refreshing  all  around.  Her  volubility  is  like  the  bird's  song; 
it  is  the  outpouring  of  a  heart  filled  to  overflowing  with  life, 
love,  and  joy,  and  all  sweet  and  affectionate  impulses.  She 
has  as  much  tenderness  as  mirth,  and  in  her  most  petulant 
raillery  there  is  a  touch  of  softness — "  By  this  hand,  it  will 
not  hurt  a  fly  !"  As  her  vivacity  never  lessens  our  impres- 
sion of  her  sensibility,  so  she  wears  her  masculine  attire 
without  the  slightest  impugnment  of  her  delicacy.  .  .  .  Rosa- 
lind has  in  truth  "no  doublet  and  hose  in  her  disposition." 
How  her  heart  seems  to  throb  and  flutter  under  her  page's 
vest !  What  depth  of  love  in  her  passion  for  Orlando ! 
whether  disguised  beneath  a  saucy  playfulness,  or  breaking 
forth  with  a  fond  impatience,  or  half  betrayed  in  that  beau- 
tiful scene  where  she  faints  at  the  sight  of  his  'kerchief 
stained  with  his  blood !  Here  her  recovery  of  her  self- 
possession — her  fears  lest  she  should  have  revealed  her  sex 
— her  presence  of  mind,  and  quick-witted  excuse — 

"  I  pray  you,  tell  your  brother  how  well  I  eountcrfeitcd  " — 

and  the  characteristic  playfulness  which  seems  to  return 
so  naturally  with  her  recovered  senses — are  all  as  amusing 
as  consistent.  Then  how  beautifully  is  the  dialogue  man- 
aged between  herself  and  Orlando!  how  well  she  assumes 
the  airs  of  a  saucy  page,  without  throwing  off  her  feminine 
sweetness!  How  her  wit  flutters  free  as  air  over  every  sub- 
ject !  With  what  a  careless  grace,  yet  with  what  exquisite 
propriety ! 

"  For  innocence  hath  a  privilege  in  her 
To  dignify  arch  jests  and  laughing  eyes." 

And  if  the  freedom  of  some  of  the  expressions  used  by 


IN  TROD  UCTION.  1 9 

Rosalind  or  Beatrice  be  objected  to,  let  it  be  remembered 
that  this  was  not  the  fault  of  Shakspeare  or  the  women, 
but  generally  of  the  age.  Portia,  Beatrice,  Rosalind,  and 
the  rest  lived  in  times  when  more  importance  was  attached 
to  things  than  to  words;  now  we  think  more  of  words  than 
of  things ;  and  happy  are  we  in  these  later  days  of  super- 
refinement,  if  we  are  to  be  saved  by  our  verbal  morality. 
But  this  is  meddling  with  the  province  of  the  melancholy 
Jaques,  and  our  argument  is  Rosalind.  .  .  . 

Rosalind  has  not  the  impressive  eloquence  of  Portia,  nor 
the  sweet  wisdom  of  Isabella.  Her  longest  speeches  are 
not  her  best;  nor  is  her  taunting  address  to  Phebe,  beautiful 
and  celebrated  as  it  is,  equal  to  Phebe's  own  description  of 
her.  The  latter,  indeed,  is  more  in  earnest.* 

Celia  is  more  quiet  and  retired:  but  she  rather  yields  to 
Rosalind  than  is  eclipsed  by  her.  She  is  as  full  of  sweet- 
ness, kindness,  and  intelligence,  quite  as  susceptible,  and 
almost  r.s  witty,  though  she  makes  less  display  of  wit.  She 
is  described  as  less  fair  and  less  gifted;  yet  the  attempt 
to  excite  in  her  mind  a  jealousy  of  her  lovelier  friend,  by 
placing  them  in  comparison — 

"Thou  art  a  fool;  she  robs  thee  of  thy  name; 
And  thou  \vilt  show  more  bright,  and  seem  more  virtuous, 
\Vhen  she   is  gone'' — 

fails  to  awaken  in  the  generous  heart  of  Celia  any  other 
feeling  than  an  increased  tenderness  and  sympathy  for  her 
cousin.  To  Celia,  Shakspeare  has  given  some  of  the  most 
striking  and  animated  parts  of  the  dialogue  ;  and  in  particu- 

*  Rousseau  could  describe  such  a  character  as  Rosalind,  but  failed 
to  represent  it  consistently:  "  X'est-ce  pas  de  ton  cieur  ([lie  vicnnent 
les  graces  de  ton  enjouement  ?  Tcs  railleries  sont  des  sixties  d'interet 
phis  touchants  (|iic  les  compliments  d'un  autrc.  Tu  caresses  ijuand  tu 
folatres.  'I'u  ris,  inais  ton  lire  penetiv  1'ame  ;  tu  ris,  mais  tu  tais  pletirer 
de  tcndressc,  et  je  te  vois  presque  toujours  serieuse  avec  les  inditteieiUs" 


20  AS   YOU  LIKE   IT. 

lar,  that  exquisite  description  of  the  friendship  between  he» 

and  Rosalind — 

'•  IT  she  be  a  traitor, 

Why,  so  am  I ;  we  have  still  slept  together, 
Rose  at  an  instant,  learn'd,  play'cl,  cat  together, 
And  wheresoe'er  \ve  went,  like  Juno's  swans, 
Still  we  were  coupled  and  inseparable." 

The  feeling  of  interest  and  admiration  thus  excited  for 
Celia  at  the  first  follows  her  through  the  whole  play.  We 
listen  to  her  as  to  one  who  has  made  herself  worthy  of  our 
love;  and  her  silence  expresses  more  than  eloquence. 

Phebe  is  quite  an  Arcadian  coquette;  she  is  a  piece  of 
pastoral  poetry.  Audrey  is  only  rustic.  A  very  amusing 
effect  is  produced  by  the  contrast  between  the  frank  and 
free  bearing  of  the  two  princesses  in  disguise,  and  the  scorn 
ful  airs  of  the  real  shepherdess.  In  the  speeches  of  Phebe, 
and  in  the  dialogue  between  her  and  Sylvius,  Shakspeare 
has  anticipated  all  the  beauties  of  Ihe  Italian  pastoral,  and 
surpassed  Tasso  and  (Juarini.  We  find  two  among  the  most 
poetical  passages  of  the  play  appropriated  to  Phebe:  the 
taunting  speech  to  Sylvius,  and  the  description  of  Rosalind 
in  her  page's  costume  —  which  last  is  finer  than  the  portrait 
of  Bathyllus  in  Anacreon. 

[/•>•«/;/  Doi^lcns  "  Sh.iksfo;-:'  *] 

Shakspere,  when  he  had  completed  his  Knglish  historical 
plays,  needed  rest  for  his  imagination  :  and  in  such  a  mood, 
craving  refreshment  and  recreation,  he  wrote  his  play  of 
As  You  J.ikc  Jt.  To  understand  the  spirit  of  this  play,  we 
must  bear  in  mind  that  it  was  written  immediately  after 
Shakspere's  great  series  of  histories,  ending  with  Jlcnry  I'. 
(i5<;<;),  and  before  lie  began  the  great  se:ies  of  tragedies. 
Shakspere  turned  with  a  srii.se  nt  ivliet,  and  a  long  easeful 


INTRODUCTION.  2 1 

sigh,  from  the  oppressive  subjects  of  history,  so  grave,  so 
real,  so  massive,  and  found  rest  and  freedom  and  pleasure 
in  escape  from  courts  and  camps  to  the  Forest  of  Arden : 

"  Who  cloth  ambition  shun, 

And  loves  to  live  i'  the  .sun, 
Come  hither,  come  hither,  come  hither." 

In  somewhat  the  same  spirit,  needing  relief  for  an  over- 
strained imagination,  he  wrote  his  other  pastoral  drama, 
27ic  Winter s  Tale,  immediately  or  almost  immediately  after 
Timon  of  Athens.  In  each  case  he  chose  a  graceful  story  in 
great  part  made  ready  to  his  hand,  from  among  the  prose 
writings  of  his  early  contemporaries,  Thomas  Lodge  and 
Robert  Greene.  Like  the  banished  Duke,  Shakspere  him- 
self found  the  forest-life  of  Arden  more  sweet  than  that  of 
painted  pomp;  a  life  ''exempt  from  public  haunt,"  in  a  quiet 
retreat,  \\here  for  turbulent  citizens  the  deer,  "poor  dappled 
fools,"  are  the  only  native  burghers.  .  .  . 

Upon  the  whole,  As  You  1  ike  It  is  the  sweetest  and  hap- 
piest of  all  Shakspere's  comedies.  No  one  suffers;  no  one 
lives  an  eager  intense  life;  there  is  no  tragic  interest  in  it 
as  there  is  in  The  Merchant  of  I'cnicc,  as  there  is  in  Much 
Ado  About  Nothing.  It  is  mirthful,  but  the  mirth  is  sprightly, 
graceful,  exquisite  ;  there  is  none  of  the  rollicking  fun  of  a 
Sir  Toby  here;  the  songs  are  not  "  co/iers'  catches"  shout- 
ed in  the  night-time,  "  without  any  mitigation  or  remorse  of 
voice,"  but  the  solos  and  duets  of  pages  in  the  wild-wood,  or 
the  noisier  chorus  of  foresters.  The  wit  of  Touchstone  is 
not  mere  clownage,  nor  has  it  any  indirect  serious  signifi- 
cances; it  is  a  dainty  kind  of  absurdity  worthy  to  hold  com- 
parison with  the  melancholy  of  Jaques.  And  Orlando  in  the 
beauty  and  strength  of  early  manhood,  and  Rosalind — 

''A   u:\ll.mt   curtlc-axe   upon   her   thii;h, 
A   boar-spear   in   IHT   hand." 

and  the  bright,  tender,  loyal  womanhood  within  arc  figures 
which  quicken  and  restore  our  spirits,  as  mu-Mc  does,  \\hich 


22  AS  YOU  LIKE  IT. 

is  neither  noisy  nor  superficial,  and  yet  which  knows  little 
of  the  deep  passion  and  sorrow  of  the  world. 

Shakspere,  when  he  wrote  this  idyllic  play,  was  himself  in 
his  Forest  of  Arclen.  He  had  ended  one  great  ambition — 
the  historical  plays — and  not  yet  commenced  his  tragedies. 
It  was  a  resting-place.  He  sends  his  imagination  into  the 
woods  to  find  repose.  Instead  of  the  court  and  camps  of 
England,  and  the  embattled  plains  of  France,  here  was  this 
woodland  scene,  where  the  palm-tree,  the  lioness,  and  the 
serpent  are  to  be  found,  possessed  of  a  flora  and  a  fauna 
that  flourish  in  spite  of  physical  geographers.  There  is  an 
open-air  feeling  throughout  the  play.  The  dialogue,  as  has 
been  observed,  catches  freedom  and  freshness  from  the  at- 
mosphere. "  Never  is  the  scene  within-doors,  except  when 
something  discordant  is  introduced  to  heighten  as  it  were 
the  harmony."*  After  the  trumpet-tones  of  Henry  V.  comes 
the  sweet  pastoral  strain,  so  bright,  so  tender.  Must  it  not 
all  be  in  keeping?  Shakspere  was  not  trying  to  control  his 
melancholy.  When  he  needed  to  do  that,  Shakspere  con- 
fronted his  melancholy  very  passionately,  and  looked  it  full 
in  the  face.  Here  he  needed  refreshment,  a  sunlight  tem- 
pered by  forest-boughs,  a  breeze  upon  his  forehead,  a  stream 
murmuring  in  his  ears,  f 

*  C.  A.  lirown:  Shakespeare's  Autobiographical  Poems,  p.  283. 

t  Heblcr  (Aufsdtze  iibcr  Shakespeare,  p.  195)  writes  of  As  You  Like  It. 
"  Ks  ist  cine  Waldcur  fur  Hoflcute,  die  zum  Ciliick  mil  heutigcn  Had- 
odcr  Luftcurcn  das  gerncin  hat,  dass  viele  Gesundc  dabei  sind.  So  vor 
Allen  Orlando  und  Rosalinde,  fiir  welche  heide  die  Cur  kcine  andcre 
Bcdeutung  hat  als  ihrc  Liebe  auf  die  lieblichstc  Weisc  zur  Krscheinung 
und  Reife  zu  bringen,  wahrend  das  voriibergehend  Hedenkliche  ihrcr 
I, age  den  Alles,  selbst  die  Licbe  noch,  vcrschoncnden  Collet  funken  des 
I  Illinois  hervnrlockt.  D.ineben  der  Contrast  der  blossen  lieben  Natur  in 
dem  SchSferpaJirehcn,  nnd  die  lieitere  1'arodie  des  idyllise  hen  I  loflebens 
in  der  Heirath  des  N'arren  init  einem  Landmadehcn,  wiihrend  der  IH.isirte 
(Jaqucs)  aurh  der  trix  hesteii  Natur  seine  eigene  l''arbe  ankrankclt." 


INTRODUCTION.  23 

[From  Mr.  F.  J.  Furnivairs  Introduction  to  the  ffay.*] 

"The  sweetest  and  happiest  of  Shakspere's  comedies," 
says  Professor  Dowden.  Yes,  sweetest,  because  the  sweet- 
ness has  been  drawn  from  the  bitters  of  life  :  happiest,  be- 
cause the  happiness  has  sprung  from,  has  overcome,  sorrow 
and  suffering.  What  most  we  prize  is  misfortune  borne  with 
cheery  mind,  the  sun  of  man's  spirit  shining  through  and 
dispersing  the  clouds  that  strive  to  shade  it.t  And  surely 
this  is  the  spirit  of  the  play.  The  play  goes  back,  too,  to 
the  old  Robin  Hood  spirit  of  England,  to  that  same  love  of 
country  and  of  forest  and  of  adventure  which  still  sends  our 
men  all  over  the  world,  and  empties  yearly  our  women  out 
of  town : 

"  They  say  he  is  already  in  the  forest  of  Arden,  and  a  many  merry 
men  with  him  ;  and  there  they  live  like  the  old  Robin  Hood  of  England: 
they  say,  many  young  gentlemen  flock  to  him  every  day,  and  fleet  the 
time  carelessly,  as  they  did  in  the  golden  world  ;" 

or,  as  Orlando  puts  the  other  side  of  it — 
"  In  this  desert  inaccessible, 
Under  the  shade  of  melancholy  boughs, 
Lose  and  neglect  the  creeping  hours  of  time." 

*  The  Leopold  Shakspere  (London,  1877),  p.  Ivii  (by  permission). 

t  My  friend  Dr.  Ingleby  says  on  this,  "The  moral  of  the  play  is  much 
more  concrete.  It  is  not,  how  to  bear  misfortune  with  cheery  mind,  but, 
lunv  to  read  the  lessons  in  the  vicissitudes  of  physical  nature."  This  is 
what  the  banisht  Duke  says  as  to  "the  penalty  of  Adam,''  and  what 
Amiens  says  in  "  Blow,  blow,  thou  winter  wind  !"  and  "  Under  the 
greenwood  tree."  Everywhere  it  is  "  in  these  inclement  skies  we  shall 
feel  what  we  are,  but  find  no  enemy.  We  who  have  known  the  insincer- 
ity of  flattery,  covering  ingratitude  and  backbiting,  shall  here  find  frank 
and  outspoken  friends,  who  teach  us  to  read  the  message  of  cold  winds, 
etc.  ;  and  through  that,  make  us  believe  that  all  adversity  has  its  uses 
and,  sweet  ones." 

"Sweet  are  the  uses  of  adversity.   ..." 

"  Happy  is  your  grace, 

That  can  translate  tne  stubbornnesses  of  fortune 
Into  so  quiet  and  so  sweet  a  style." 


24  AS  YOU  LIKE  IT. 

It  is  true  this  is  not  Prospero's  task,  but  Shakspere  is  in  his 
Second  Period,  not  his  Fourth.  We  are  out  of  all  wrangle 
of  court  and  struggle  of  camp,  in  this  forest  of  enchantment, 
Arden,  where  lions  and  palms  and  serpents  grow,  where 
ambition  is  shunnd,  and  all  are  pleased  with  what  they  get. 
'Tis  Chaucer's  "  Flee  fro  the  pres  and  dwelle  with  sooth- 
fastnesse,"  his  "Former  Age;"  a  fancy  picture  if  you  will; 
but  let  us  enjoy  it  while  we  may.  The  picture  is  not  painted 
in  the  same  high  key  of  colour  as  Much  Ado.  Instead  of 
the  hot  sun  of  Beatrice's  and  Benedick's  sharp  wit-combats, 
with  its  golden  reds  and  yellows,  backt  by  the  dark  clouds 
of  Hero's  terrible  distress,  we  have  a  picture  of  greys  and 
greens  and  blues,  lit  through  a  soft  haze  of  silvery  light. 
Rosalind's  rippling  laugh  comes  to  us  from  the  far-off  forest 
glades,  and  the  wedded  couples'  sweet  content  reaches  us  as 
a  strain  of  distant  melody.  The  play  stretches  backwards 
and  forwards  as  Much  Ado  does:  back  to  the  First  Period, 
Lore's  Labours  Lost.  The  scene  is  the  Forest  of  Arden, 
like  the  King  of  Navarre's  park;  the  early  Stratford  wood- 
land life  is  in  both.  And  in  both  is  the  same  almost  child- 
ish love  of  the  girl  tormenting  her  sweetheart  by  assuming 
or  continuing  unnecessary  disguises,  the  lover's  writing  of 
verses,  the  hunting,  etc. ;  the  names  Rosaline  and  Rosalind, 
and  certain  points  of  likeness  between  their  owners.  Miss 
Baillie  says,  "The  way  in  which  Rosalind  delights  in  teasing 
Orlando  is  essentially  womanly.  There  are  many  women 
who  take  unaccountable  pleasure  in  causing  pain  to  those 
they  love,  for  the  sake  of  healing  it  afterwards."  The  love 
at  first  sight  is  like  that  in  Lore" s  Labours  Lost,  and  Touch- 
stone and  Audrey  are  a  far  better  Armado  and  Jacquenetta. 
To  Midsummer- Wight" s  Dream  this  play  is  linkt  by  its  en- 
chanted land,  and  its  pretty  picture  of  Rosalind's  and  Ce- 
lia's  friendship  matching  that  of  Helena  and  Hermia.  With 
The  Merchant  we  get  the  links  of  Rosalind's  description  of 
her  dressing  as  a  man,  like  Portia's  (and  Julia's  ir.  The  Two 


INTRODUCTION.  25 

Gentlemen}^  while  the  melancholy  of  Jaques  reminds  us,  in 
name,  of  that  of  Antonio  in  The  Merchant.  Rosalind's  de- 
scription of  herself  as  "one  out  of  suits  with  fortune"  suits 
Portia's  "  My  little  body  is  aweary  of  this  great  world." 
The  reach  forward  of  the  play  is  most  interesting  in  its 
anticipation  of  the  Fourth-Period  lesson,*  that  repentance 
and  reconciliation  are  better  than  revenge,  taught  by  the 
two  instances  of  Oliver  and  Duke  Frederick;  while  in  Peri- 
cles we  see  that  Marina  is  to  be  killed  because  she  stained 
her  friend  Cleon's  daughter,  as  Duke  Frederick  justifies  his 
cruelty  to  Rosalind  because  she  throws  Celia  into  the  shade. 
One  cannot  also  forget  the  fool  here,  "who'll  go  along  o'er 
the  wide  world  with  Celia,"  when  thinking  of  Lear's  fool, 
who'd  never  been  happy  since  his  young  mistress  went  to 
France.  And  we  may  remember,  too,  Shakspere's  quotation 
here  from  his  dead  friend  Marlowe's  Hero  and  Leandcr,  first 
printed  in  1598: 

"Dead  shepherd,  now  I  find  tny  saw  of  might, 
'Who  ever  lov'd  that  lov'd  not  at  first  sight?'" 

*  Mr.  Furnivall  makes  the  following  classification  ot"  Shakespeare's 
plays  and  poems  : — 

FIRST  PKRinn  (?  1588-1594): 

a.  The    Comedy    of   Mrrors    or    Mistaken- Identity   Croup :    /crv-V 
Labours  Lost;    'J'he  Comedy  of  Errors ;  A   Midsummer- Nighfs 
Dream. 

b.  Link-play:    T/ie  Tii'o  Gentlemen  of  I'erona. 

c.  The    Passion    Croup:    Romeo   and   Juliet;    I'eniis    and  Adonis; 
Lucrece. 

d.  The   Marly  Histories:   Richard  II.;    I,  2,  3  Henrv  I'/,;   Richard 
III. 

SECOND  PKRIOD  (?  1595-1601): 

a.  The  Life-plea  Croup;   a  History  and  Comedy:   Kin^  John;    The 
Merchant  a  f  I'. -nice. 

b.  A  Farce  :    The  Taming  of  the  Shre-i>. 

C.  The  three   Comedies  of  Falstaff,  with  the  Trilogy  <>f  Henrv  //' 
and  /'.:    I   Henry  //'.;   2  Henry  //'.;  The   Men  v  11  Vrv.i • ,-  Henry 

y. 


26  4-S  YOU  LIKE  IT. 

d.  The  three  Sunny  or  Sweet-Time  Comedies  :  Much  Ado ;  As  You 
Like  It;   Twelfth  Night. 

e.  The  Darkening  Comedy:  AlPs  Well, 

THIRD  PERIOD  (1601-1608): 

a.  The  Unfit-Nature  or  Under- Burden-failing  Group:  Julius  Casar; 
Ifamlet ;  Measure  for  Measure. 

b.  The  Tempter-yielding  Group :  Othello;  Macbeth. 

c.  The  First  Ingratitude  and  Cursing  Play:  King  Lear. 

d.  The  Lust  or  P'alse-Love  Group :    Troilus  and  Cressida;  Antony 
and  Cleopatra. 

e.  The  Second  Ingratitude  or  Cursing  Group:  Coriolanus ;   Timon 
of  Athens. 

FOURTH  PKRIOD  (1609-1613) : 

All  of  Re-union,  of  Reconciliation  and  Forgiveness: 

a.  By  Men :  Pericles;   The  Tempest. 

b.  By  Women  (mainly):  Cymbeline :  The  Winter's  Tale;  Henry  VIII, 

In  this  classification  Titus  Andronicus  is  omitted  as  "  not  Shak- 
spere's."  The  Passio*iate  Pilgrim  (?  1589-1599)  and  the  Sonnets  (?  1592^ 
1608)  are  considered  separately,  the  latter  having  an  elaborate  classifi- 
cation of  their  o\\n. 

\Ve  have  not  thought  it  worth  while  to  interfere  with  Mr.  Furnivall's 
orthographical  eccentricities  (''hanisht,"  "shunnd,"  and  the  like),  nor 
with  his  version  of  the  title  of  Lena's  Labour's  Lost.  The  folio,  by  the 
way,  gives  this  last  uniformly  "  Loues  Labour's  lost"  in  the  title  and 
head-lines  of  the  play.  In  the  table  of  contents  it  has  "  Lmies  Labour 
Lost."  The  title-page  of  the  quarto  of  1598,  according  to  several  author- 
ities, reads  "  Loucs  labors  lost." — (£</.). 


AS    YOU    LIKE    IT. 


DRAMATIS  PERSONAL. 


Dt'KK,  living  in  banishment. 
FREDERICK,  his  brother,  and  usurper   of 
his  dominions. 
AMIENS,  )  lords  attending  on  the  banished 
JAQUES,   1      d':';e. 

SIR  OLIVER  MARTKXT,  a  vicar. 
COR  IN,    i 
S,Lv,us,}shePherds- 
WILLIAM,  a  country   fellow,  in   love  with 
Audrey. 
A  person  representing  Hvmen. 

crick. 

ROSALIND  daughter  to  the  banished  duke. 
CFIIA    danchter  to  Frederick. 

OLIVER,      \ 
J  \QOES,      >  sons  of  Sir  Rowland  dc  Boys. 
ORLANDO,  ) 

ADAM,     )  servants  to  Oliver. 
DENNIS,  ) 
Toi'CHSTONE,  a  clown. 

AUDREY,  a  country  wench. 
Lords,  pages,  and  attendants,  etc. 

SCHVF.  :  Oliver's  house  ;  Duke  FrtdericKs 
cjurt  ;  and  tlic  Forest  of  A  rdcn. 

"  To  liberty,  and  nut  to  banishment"  (i.  3.  136). 


ACT  I. 

ScEXF.   I.      Orchard  of  Oliver's  House. 
Enter  OKI.ANDO  and  ADAM. 

Orlando.  As  I  remember,  Adam,  it  \vas  upon  this  fashion 
bequeathed  me  by  will  but  poor  a  thousand  crowns,  and,  as 
thou  sayest,  charged  my  brother,  on  his  blessing,  to  breed 
me  well;  and  there  begins  my  sadness.  My  brother  Jaques 
he  keeps  at  school,  and  report  speaks  goldcnly  of  his  profit : 
for  my  part,  he  keeps  me  rustically  at  home,  or,  to  speak 
more  properly,  stays  me  here  at  home  unkept  ;  for  call  you 
that  keeping  for  a  gentleman  of  my  birth,  that  differs  not 
from  the  stalling  of  an  ox?  His  horses  are  bred  better; 
for,  besides  that  (hey  are  fair  with  their  feeding,  they  arc 
taught  tiieir  manage,  and  to  that  end  riders  deaily  hired: 


3° 


AS    YOU  LIKE  IT. 


but  I,  his  brother,  gain  nothing  under  him  but  growth ;  for 
the  which  his  animals  on  his  dunghills  are  as  much  bound 
to  him  as  I.  Besides  this  nothing  that  he  so  plentifully 
gives  me,  the  something  that  nature  gave  me  his  counte- 
nance seems  to  take  from  me  :  he  lets  me  feed  with  his 
hinds,  bars  me  the  place  of  a  brother,  and,  as  much  as  in 
him  lies,  mines  my  gentility  with  my  education.  This  is  it, 
Adam,  that  grieves  me;  and  the  spirit  of  my  father,  which  I 
think  is  within  me,  begins  to  mutiny  against  this  servitude. 
I  will  no  longer  endure  it,  though  yet  I  know  no  wise  rem- 
edy how  to  avoid  it.  22 

Adam.  Yonder  comes  my  master,  your  brother. 

Orlando.  Go  apart,  Adam,  and  thou  shalt  hear  how  he 
will  shake  me  up. 

Enter  OLIVER. 

Oliver.  Now,  sir  !  what  make  you  here  ? 

Orlando.   Nothing  :  I  am  not  taught  to  make  any  thing. 

Oiticr.  What  mar  you  then,  sir? 

Orlando.  Marry,  sir,  I  am  helping  you  to  mar  that  which 
God  made,  a  poor  unworthy  brother  of  yours,  with  idle- 
ness. IT 

Olircr.  Marry,  sir,  be  better  employed,  and  be  naught 
awhile. 

Orlando.  Shall  I  keep  your  hogs  and  eat  husks  with 
them?  What  prodigal  portion  have  I  spent,  that  I  should 
come  to  such  penury  ? 

Olircr.   Know  you  where  you  are,  sir? 

Orlando.  O,  sir,  very  well  :  here  in  your  orchard. 

Oliver.   Know  you  before  whom,  sir  ?  39 

Orlando.  Ay,  better  than  him  I  am  before  knows  me.  I 
know  you  are  my  eldest  brother  ;  and,  in  tiie  gentle  condi- 
tion of  blood,  you  should  so  know  me.  The  courtesy  of 
nations  allows  you  my  better,  in  that  you  are  the  first-born  ; 
but  the  same  tradition  takes  not  away  my  blood,  were  there 


ACT  I.    SCENE   f.  31 

twenty  brothers  betwixt  us.  I  have  as  much  of  my  father 
in  me  as  you  ;  albeit,  I  confess,  your  coming  before  me  is 
nearer  to  his  reverence. 

Oliver.  What,  boy ! 

Orlando.  Come,  come,  elder  brother,  you  are  too  young 
in  this.  5o 

Oliver.  Wilt  thou  lay  hands  on  me,  villain  ? 

Orlando.  I  am  no  villain  ;  I  am  the  youngest  son  of  Sir 
Rowland  de  Boys  :  he  was  my  father,  and  he  is  thrice  a  vil- 
iain  that  says  such  a  father  begot  villains.  Wert  thou  not 
my  brother,  I  would  not  take  this  hand  from  thy  throat  till 
this  other  had  pulled  out  thy  tongue  for  saying  so  :  thou 
hast  railed  on  thyself. 

Adam.  Sweet  masters,  be  patient :  for  your  father's  re- 
membrance, be  at  accord. 

Oliver.  Let  me  go,  I  say.  60 

Orlando.  I  will  not,  till  I  please  :  you  shall  hear  me.  My 
father  charged  you  in  his  will  to  give  me  good  education: 
you  have  trained  me  like  a  peasant,  obscuring  and  hiding 
from  me  all  gentleman-like  qualities.  The  spirit  of  my 
father  grows  strong  in  me,  and  I  will  no  longer  endure  it : 
therefore  allow  me  such  exercises  as  may  become  a  gen- 
tleman, or  give  me  the  poor  allottery  my  father  left  me 
by  testament  ;  with  that  I  will  go  buy  my  fortunes. 

Oliver.  And  what  wilt  thou  do?  beg,  when  that  is  spent? 
Well,  sir,  get  you  in  :  I  will  not  long  be  troubled  with  you  ; 
you  shall  have  some  part  of  your  will  :  I  pray  you,  leave 
me.  12 

Orlando.  I  will  no  further  offend  you  than  becomes  me 
for  my  good. 

Oliver.   Get  you  with  him,  you  old  dog. 

Adam.  Is  'old  dog'  my  reward?  Most  true,  T  have  lost 
my  teeth  in  your  service.— God  be  with  my  old  master! 
he  would  not  have  spoke  such  a  word. 

\Excunt  Orlando  and  Adam. 


32 


AS   YOU  LIKE  IT. 


Oliver.  Is  it  even  so?  begin  you  to  grow  upon  me?  1 
will  physic  your  rankness,  and  yet  give  no  thousand  crowns 
neither. — Holla,  Dennis  !  81 

Enter  DENNIS. 

Dennis.   Calls  your  worship? 

Oliver.  Was  not  Charles,  the  duke's  wrestler,  here  to 
speak  with  me  ? 

Dennis.  So  please  you,  he  is  here  at  the  door  and  im- 
portunes access  to  you. 

Oliver.  Call  him  in.  \Exit  Dennis.'}  T  will  be  a  good 
way;  and  to-morrow  the  wrestling  is. 

Enter  CHARLES. 

Charles.  Good  morrow  to  your  worship. 

Oliver.  Good  Monsieur  Charles,  what  's  the  new  news  at 
the  new  court  ?  m 

Charles.  There  's  no  news  at  the  court,  sir,  but  the  old 
news :  that  is,  the  old  duke  is  banished  by  his  younger 
brother  the  new  duke  ;  and  three  or  lour  loving  lords  have 
put  themselves  into  voluntary  exile  with  him,  whose  lands 
and  revenues  enrich  the  new  duke  ;  therefore  he  gives  them 
good  leave  to  wander. 

Oliver.  Can  you  tell  if  Rosalind,  the  duke's  daughter,  be 
banished  with  her  father?  ./j 

Charles.  (),  no;  for  the  duke's  daughter,  her  cousin,  so 
loves  her,  being  ever  from  their  cradles  bred  together,  that 
she  would  have  followed  her  exile,  or  have  died  to  stay  be- 
hind her.  She  is  at  the  court,  and  no  less  beloved  of  her 
uncle  than  his  own  daughter  ;  and  never  two  ladies  loved  as 
they  do. 

Oliver.   Where  will  the  old  duke  live? 

Charles.  They  say  he  is  already  in  the  forest  of  Arden, 
ai id  a  many  merry  men  with  him  ;  and  there  they  live  like 
the  old  Robin  Hood  of  England.  They  say  many  young 


ACT  I.     SCENE  I.  33 

gentlemen  flock  to  him  every  day,  and  fleet  the  time  care- 
lessly, as  they  did  in  the  golden  world.  m 

Oliver.  What, you  wrestle  to-morrow  before  the  new  duke? 

Charles.  Marry,  do  I,  sir  ;  and  i  came  to  acquaint  you 
with  a  matter.  I  am  given,  sir,  secretly  to  understand  that 
your  younger  brother  Orlando  hath  a  disposition  to  come  in 
disguised  against  me  to  try  a  fall.  To-morrow,  sir,  I  wrestle 
for  my  credit ;  and  he  that  escapes  me  without  some  broken 
limb  shall  acquit  him  well.  Your  brother  is  but  young  and 
tender  ;  and,  for  your  love,  I  would  be  loath  to  foil  him,  as 
I  must,  for  my  own  honour,  if  he  come  in  :  therefore,  out  of 
my  love  to  you,  I  came  hither  to  acquaint  you  withal,  that 
either  you  might  stay  him  from  his  intendment  or  brook 
such  disgrace  well  as  he  shall  run  into,  in  that  it  is  a  thing 
of  his  own  search  and  altogether  against  my  will.  124 

Oliver.  Charles,  I  thank  thee  for  thy  love  to  me,  which 
thou  shah  find  I  will  most  kindly  requite.  I  had  myself 
notice  of  my  brother's  purpose  herein,  and  have  by  under- 
hand means  laboured  to  dissuade  him  from  it,  but  he  is 
resolute.  I  '11  tell  thee,  Charles,  it  is  the  stubbornest  young 
fellow  of  France,  full  of  ambition,  an  envious  emulator  of 
every  man's  good  parts,  a  secret  and  villanous  contriver 
against  me  his  natural  brother  ;  therefore  use  thy  discretion. 
I  had  as  lief  thou  didst  break  his  neck  as  his  finger.  And 
thou  wert  best  look  to  't ;  for  if  thou  dost  him  any  slight  dis- 
grace, or  if  he  do  not  mightily  grace  himself  on  thee,  he  will 
practise  against  thee  by  poison,  entrap  thee  by  some  treach- 
erous device,  and  never  leave  thee  till  he  hath  ta'en  thy  life 
by  some  indirect  means  or  other  :  for,  I  assure  thee,  and  al- 
most with  tears  I  speak  it,  there  is  not  one  so  young  and  so 
villanous  this  day  living.  I  speak  but  brotherly  of  him  :  but 
should  I  anatomize  him  to  thee  as  he  is,  I  must  blush  and 
weep,  and  thou  must  look  pale  and  wonder.  n- 

Charlcs.  I  am  heartily  glad  I  came  hither  to  you.  If  he 
come  to-morrow,  I  '11  give  him  his  payment.  If  ever  he  go 

C 


34  AS   YOU  LIKE  IT. 

alone  again,  I  '11  never  wrestle  for  prize  more  :  and  so,  God 
keep  your  worship  ! 

Oliver.  Farewell,  good  Charles.  {Exit  Charles^  Now  will 
I  stir  this  gamester:  I  hope  I  shall  see  an  end  of  him;  for 
my  soul,  yet  I  know  not  why,  hates  nothing  more  than  he. 
Yet  he  's  gentle,  never  schooled  and  yet  learned,  full  of  noble 
device,  of  all  sorts  enchantingly  beloved,  and  indeed  so  much 
in  the  heart  of  the  world,  and  especially  of  my  own  people, 
who  best  know  him,  that  I  am  altogether  misprised.  But  it 
shall  not  be  so  long;  this  wrestler  shall  clear  all.  Nothing 
remains  but  that  I  kindle  the  boy  thither;  which  now  I'll  go 
about.  [Exif. 

SCENE  II.     Lawn  before  tJic  Dukes  l\ilace. 
Enter  CELIA  and  ROSALIND. 

Cclia.   I  pray  thee,  Rosalind,  sweet  my  coz,  be  merry. 

Rosalind.  Dear  Celia,  I  show  more  mirth  than  I  am  nv's- 
tress  of;  and  would  you  yet  1  were  merrier?  Unless  you 
could  teach  me  to  forget  a  banished  father,  you  must  not 
learn  me  how  to  remember  any  extraordinary  pleasure. 

Celia.  Herein  I  see  thou  lovest  me  not  with  the  full  weight 
that  I  love  thee.  If  my  uncle,  thy  banished  father,  had  ban- 
ished thy  uncle,  the  duke  my  father,  so  thou  hadst  been  still 
with  me,  I  could  have  taught  my  love  to  take  thy  father  for 
mine  :  so  wouldst  thou,  if  the  truth  of  thy  love  to  me  were 
so  righteously  tempered  as  mine  is  to  thee.  n 

Rosalind.  Well,  1  will  forget  the  condition  of  my  estate,  to 
rejoice  in  yours. 

Celia.  You  know  my  father  hath  no  child  but  I,  nor  none 
is  like  to  have;  and,  truly,  when  he  dies,  thou  shalt  be  his 
heir,  for  what  he  hath  taken  away  from  thy  father  perforce, 
I  will  render  thee  again  in  affection:  by  mine  lionom,  J  will, 
and  when  I  break  that  oath,  Irt  me  turn  monster  !  There- 
fore, my  sweet  Rose,  my  dear  Rose,  be  merry. 


ACT  I.     SCENE   II.  35 

Rosahnd.  From  henceforth  I  will,  coz,  and  devise  sports. 
Let  me  see  ;  what  think  you  of  falling  in  love:  21 

Celia.  Marry,  I  prithee,  do,  to  make  sport  withal :  but  love 
no  man  in  good  earnest;  nor  no  further  in  sport  neither  than 
with  safety  of  a  pure  blush  thou  mayst  in  honour  come  off 
again. 

Rosalind.  What  shall  be  our  sport,  then  ? 

Celia.  Let  us  sit  and  mock  the  good  housewife  Fortune 
from  her  wheel,  that  her  gifts  may  henceforth  be  bestowed 
equally.  29 

Rosalind.  I  would  we  could  do  so,  for  her  benefits  are 
mightily  misplaced,  and  the  bountiful  blind  woman  doth 
most  mistake  in  her  gifts  to  women. 

Celia.  T  is  true  ;  for  those  that  she  makes  fair  she  scarce 
makes  honest,  and  those  that  she  makes  honest  she  makes 
very  ill-favouredly. 

Rosalind.  Nay,  now  thou  goest  from  Fortune's  office  to 
Nature's :  Fortune  reigns  in  gifts  of  the  world,  not  in  the 
lineaments  of  Nature.  38 

Enter  TOUCHSTONE. 

Celia.  No?  when  Nature  hath  made  a  fair  creature,  may 
she  not  by  Fortune  fall  into  the  fire?  Though  Nature  hath 
given  us  wit  to  rlout  at  Fortune,  hath  not  Fortune  sent  in 
this  fool  to  cut  off  the  argument  ? 

Rosalind.  Indeed,  there  is  Fortune  too  hard  for  Nature, 
when  Fortune  makes  Nature's  natural  the  cutter-off  of  Na- 
ture's wit. 

Celia.  Peradventure  this  is  not  Fortune's  work  neither, 
but  Nature's  ;  who,  perceiving  our  natural  wits  too  dull  to 
reason  of  such  goddesses,  hath  sent  this  natural  for  our 
whetstone  ;  for  always  the  dulness  of  the  fool  is  the  whet- 
sione  of  the  wits.  How  now,  wit  !  whither  wander  you  ?  50 

Touchstone.   Mistress,  you  must  come  away  to  your  father. 

Celia.  Were  you  made  the  messenger  ? 


3 6  AS   YOU  LIKE  IT. 

Touchstone.  No,  by  mine  honour,  but  I  was  bid  to  come 
for  you. 

Rosalind.  Where  learned  you  that  oath,  fool  ? 

Touchstone.  Of  a  certain  knight  that  swore  by  his  honour 
they  were  good  pancakes,  and  swore  by  his  honour  the  mus- 
tard was  naught  :  now  I  '11  stand  to  it,  the  pancakes  were 
naught  and  the  mustard  was  good,  and  yet  was  not  the 
knight  forsworn.  60 

Celia.  How  prove  you  that,  in  the  great  heap  of  your 
knowledge  ? 

Rosalind.  Ay,  marry,  now  unmuzzle  your  wisdom. 

Touchstone.  Stand  you  both  forth  now  :  stroke  your  chins, 
and  swear  by  your  beards  that  I  am  a  knave. 

Celia.  By  our  beards,  if  we  had  them,  thou  art. 

Touchstone.  By  my  knavery,  if  I  had  it,  then  I  were  ;  but 
if  you  swear  by  that  that  is  not,  you  are  not  forsworn :  no 
more  was  this  knight,  swearing  by  his  honour,  lor  he  never 
had  any  ;  or  if  he  had,  he  had  sworn  it  away  before  ever  he 
saw  those  pancakes  or  that  mustard.  71 

Celia.  Prithee,  who  is  't  that  thou  meanest? 

Touchstone.   One  that  old  Frederick,  your  father,  loves. 

Celia.  My  father's  love  is  enough  to  honour  him  enough: 
speak  no  more  of  him  ;  you  '11  be  whipped  for  taxation  one 
of  these  clays. 

Touchstone.  The  more  pity,  that  fools  may  not  speak  wise- 
ly what  wise  men  do  foolishly. 

Celia.  By  my  troth,  thou  sayest  true;  for  since  the  little 
\viX_that  fools  have  was  silenced,  the  little  foolery  that  wise 
men  have  makes  a  great  show.  Here  comes  Monsieur  Le 
Beau.  82 

Rosalind.   With  his  mouth  full  of  news. 

Celia.  Which  he  will  put  on  us,  as  pigeons  feed  their 
young. 

Rosalind.   Then  shall  we  be  news-crammed. 

Celia.   All  the  better;  we  shall  be  the  more  marketable. 


ACT  I.     SCENE  II.  37 

Enter  LE  BEAU. 

Bon  jour,  Monsieur  Le  Beau :  what  's  the  news  ? 

Lc  Bean.  Fair  princess,  you  have  lost  much  good  sport. 

Celia,   Sport!  of  what  colour  ?  oo 

I^e  Beau.  What  colour,  madam  ?  how  shall  I  answer  you.? 

Rosalind.  As  wit  and  fortune  w^ill. 

Touchstone.  Or  as  the  destinies  decree. 

Celia.  Well  said  :  that  was  laid  on  with  a  trowel. 

Touchstone.   Nay,  if  I  keep  not  my  rank, — 

Rosalind.  Thou  losest  thy  old  smell. 

Le  Beau.  You  umn/e  me,  ladies  :  I  would  have  told  you 
of  good  wrestling,  which  you  have  lost  the  sight  of. 

Rosalind.   Vet  tell  us  the  manner  of  the  wrestling.  99 

Le  Beau.  I  will  tell  you  the  beginning  ;  and,  if  it  please 
your  ladyships,  you  may  see  the  end  :  for  the  best  is  yet  to 
do;  and  here,  where  you  are,  they  are  coming  to  perform  it. 

Cdia.   Well,  the  beginning,  that  is  dead  and  buried. 

Le  Beau.  There  comes  an  old  man  and  his  three  sons, — 

Celia.   I  could  match  this  beginning  with  an  old  tale. 

Le  Beau.  Three  proper  young  men,  of  excellent  growth 
and  presence, — 

Rosalind.  With  bills  on  their  necks,  '  Be  it  known  unto 
all  men  by  these  presents.'  .09 

Le  Beau.  The  eldest  of  the  three  wrestled  with  Charles, 
the  duke's  wrestler;  which  Charles  in  a  moment  threw  him 
and  broke  three  of  his  ribs,  that  there  is  little  hope  of  life 
in  him:  so  he  served  the  second,  and  so  the  third.  Ven- 
der they  lie;  the  poor  old  man,  their  father,  making  such 
pitiful  dole  over  them  that  all  the  beholders  take  his  pan 
with  weeping. 

Rosalind.   Alas  ! 

Touchstone.  But  what  is  the  sport,  monsieur,  that  the  In- 
dies have  lost  ? 

Le  Beau.   Why,  this  that  I  speak  of.  120 


38  AS   YOU  LIKE  IT. 

Touchstone.  Thus  men  may  grow  wiser  every  day  !  It  is 
the  first  time  that  ever  I  heard  breaking  of  ribs  was  sport 
for  ladies. 

Celia.  Or  I,  I  promise  thee. 

Rosalind.  But  is  there  any  else  longs  to  see  this  broken 
music  in  his  sides  ?  is  there  yet  another  dotes  upon  rib- 
breaking? —  Shall  we  see  this  wrestling,  cousin? 

Le  Beau.  You  must,  if  you  stay  here;  for  here  is  the  place 
appointed  for  the  wrestling,  and  they  are  ready  to  perform 
ii.  13" 

Celia.  Yonder,  sure,  they  are  coming:  let  us  now  stay  and 
see  it. 

Flourish.     Enter  DUKE  FREDERICK,  Lords,  ORLANDO, 
CHARLES,  and  Attendants. 

Duke  Frederick.  Come  on :  since  the  youth  will  not  be 
entreated,  his  own  peril  on  his  forwardness. 

Rosalind.   Is  yonder  the  man  ? 

Le  Beau.  Even  he,  madam. 

Celia.  Alas,  he  is  too  young  !  yet  he  looks  successfully. 

Duke  Frederick.  How  now,  daughter  and  cousin  !  are  you 
crept  hither  to  see  the  wrestling? 

Rosalind.  Ay,  my  liege,  so  please  you  give  us  leave.         140 

Duke  Frederick.  You  will  take  little  delight  in  it,  I  can 
tell  you;  there  is  such  odds  in  the  men.  In  pity  of  the 
challenger's  youth  I  would  fain  dissuade  him,  but  he  will 
not  be  entreated.  Speak  to  him,  ladies;  see  if  you  can 
move  him. 

Celia.  Call  him  hither,  good  Monsieur  Le  Beau. 

Duke  Frederick.   Do  so;   I  '11  not  be  by. 

Lc  Beau.  Monsieur  the  challenger,  the  princess  calls  for 
you. 

Orlando.   I  attend  them  with  all  respect  and  duty.  150 

Rosalind.  Young  man,  have  you  challenged  Charles  the 
wrestler? 


ACT  I.     SCENE  II. 


39 


Orlando.  No,  fair  princess;  he  is  the  general  challenger: 
I  come  but  in,  as  others  do,  to  try  with  him  the  strength  of 
my  youth. 

Celia.  Young  gentleman,  your  spirits  are  too  bold  for  your 
years.  You  have  seen  cruel  proof  of  this  man's  strength : 
if  you  saw  yourself  with  your  eyes  or  knew  yourself  with 
your  judgment,  the  fear  of  your  adventure  would  counsel 
you  to  a  more  equal  enterprise.  We  pray  you,  for  your 
own  sake,  to  embrace  your  own  safety  and  give  over  this 
attempt.  162 

Rosalind.  Do,  young  sir;  your  reputation  shall  not  there- 
fore be  misprised:  we  will  make  it  our  suit  to  the  duke  that 
the  wrestling  might  not  go  forward. 

Orlando.  I  beseech  you,  punish  me  not  with  your  hard 
thoughts,  wherein  I  confess  me  much  guilty  to  deny  so  fair 
and  excellent  ladies  any  thing.  But  let  your  fair  eyes  and 
gentle  wishes  go  with  me  to  my  trial ;  wherein  if  I  be  foiled, 
there  is  but  one  shamed  that  was  never  gracious ;  if  killed, 
but  one  dead  that  is  willing  to  be  so.  I  shall  do  my  friends 
no  wrong,  for  I  have  none  to  lament  me  ;  the  world  no  in- 
jury, for  in  it  I  have  nothing:  only  in  the  world  I  fill  up  a 
place  which  may  be  better  supplied  when  I  have  made  it 
empty.  175 

Rosalind.  The  little  strength  that  I  have,  I  would  it  were 
with  you. 

Cclia.  And  mine,  to  eke  out  hers. 

Rosalind.  Fare  you  well :  pray  heaven  I  be  deceived  in 
you  !  i  so 

Cclia.  Your  heart's  desires  be  with  you  ! 

Charles.  Come,  where  is  this  young  gallant  that  is  so  de- 
sirous to  lie  with  his  mother  eartli  ? 

Orlando.  Ready,  sir;  but  his  will  hath  in  it  a  more  modest 
working. 

Duke  J<'rederiek.   You  shall  try  but  one  fall. 

Charles.   No,  I   warrant  your  grace,  you  shall  not  entreat 


4o 


AS   YOU  LIKE  IT. 


him  to  a  second,  that  have  so  mightily  persuaded  him  from 
a  first. 

Orlando.  You  mean  to  mock  me  after;  you  should  not 
have  mocked  me  before:  but  come  your  ways.  191 

Rosalind.  Now_ Hercules,  be  thy  speed,  young  man  ! 

Cdia.  I  would  I  were  invisible,  to  catch  the  strong  fellow 
by  the  leg.  [27uy  wrestle. 

Rosalind.  O  excellent  young  man  ! 

Celia.  If  I  had  a  thunderbolt  in  mine  eye,  I  can  tell  who 
should  down.  \Shout.     Charles  is  thrown. 

Duke  Frederick.  No  more,  no  more. 

Orlando.  Yes,  I  beseech  your  grace ;  I  am  not  yet  well 
breathed.  Z0o 

Duke  Frederick.   How  dost  thou,  Charles? 

Le  Beau.   He  cannot  speak,  my  lord. 

Duke  Frederick.    Bear   him    away.  —  What    is   thy  name, 
young  man  ? 

Orlando.  Orlando,  my    liege;    the    youngest    son    of   Sir 
Rowland  cle  Boys. 

Duke  Frederick.    I  would  thou   haclst  been   son  to   some 

man  else. 

The  world  esteem 'd  thy  father  honourable, 
But  I  did  find  him  still  mine  enemy  : 

Thou  shouldst  have  better  pleas'd  me  with  this  deed,          2,0 
Haclst  thou  descended  from  another  house. 
But  fare  thee  well ;  thou  art  a  gallant  youth  : 
I  would  thou  haclst  told  me  of  another  father. 

[Fxcunt  Duke  Frederick,  train,  and  Le  Rcau. 

Cclia.   Were  I  my  father,  cox,  would  I  do  this? 

Orlando.  I  am  more  proud  to  be  Sir  Rowland's  son, 
His  youngest  son;  and  would  not  change  that  calling, 
To  be  adopted  heir  to  Frederick. 

Rosalind.   My  father  lov'd  Sir  Rowland  as  his  soul, 
And  all  the  world  was  of  my  father's  mind: 
Had  I  before  known  this  voting  man  his  son,  220 


ACT  I.     SCENE  II.  41 

I  should  have  given  him  tears  unto  entreaties, 
Ere  he  should  thus  have  ventur'd. 

Celia.  Gentle  cousin, 

Let  us  go  thank  him  and  encourage  him  : 
My  father's  rough  and  envious  disposition 
Sticks  rnejit  heart. — Sir,  you  have  well  deserv'd  : 
If  you  do  keep  your  promises  in  love 
But  justly  as  you  have  exceeded  all  promise, 
Your  mistress  shall  be  happy. 

Rosalind.  Gentleman, 

\Gwing  him  a  chain  from  her  neck. 
Wear  this  for  me,  qnejout  of  suits  with  fortune, 
That  could  give  more  but  that  her  hand  lacks  means. —    230 
Shall  we  go,  coz  ? 

Celia.  Ay. — Fare  you  well,  fair  gentleman. 

Orlando.   Can  I  not  say,  I  thank  you?     My  better  parts 
Are  all  thrown  down,  and  that  which  here  stands  up 
Is  but  a  quintain,  a  mere  lifeless  block. 

Rosalind.   He  calls  us  back :  my  pride  fell  with  my  for- 
tunes; 

I  '11  ask  him  what  he  would. — Did  you  call,  sir? — 
Sir,  you  have  wrestled  well  and  overthrown 
More  than  your  enemies. 

Celia.  Will  you  go,  coz  ? 

Rosalind.   Have  with  you. — Fare  you  well. 

\_Kxennt  Rosalind  and  Celia. 

Orlando.  What    passion    hangs    these    weights    upon    my 
tongue?  .>t: 

I  cannot  speak  to  her,  yet  she  urg'd  conference. 
()  poor  Orlando,  thou  art  overthrown  ! 
Or  Charles  or  something  weaker  masters  thee. 

Enter  I,K   I!KAU. 

Le  Beau.  Good  sir,  I  do  in  friendship  counsel  vou 
To  leave  this  place.      Albeit  you  have  deserv'd 


42  AS   yOf/  LIKE  IT. 

High  commendation,  true  applause,  and  love, 

Yet  such  is  now  the  duke's  condition 

That  he  misconstrues  all  that  you  have  done. 

The  duke  is  humorous:  what  he  is,  indeed, 

More  suits  you  to  conceive  than  I  to  speak  of.  250 

Orlando.   I  thank  you,  sir;  and,  pray  you,  tell  me  this: 
Which  of  the  two  was  daughter  of  the  duke 
That  here  was  at  the  wrestling? 

Le  Beau.  Neither  his  daughter,  if  we  judge  by  manners; 
But  yet  indeed  the  smaller  is  his  daughter: 
The  other  is  daughter  to  the  banish'd  duke, 
And  here  detain'd  by  her  usurping  uncle, 
To  keep  his  daughter  company;  whose  loves 
Are  dearer  than  the  natural  bond  of  sisters. 
But  I  can  tell  you  that  of  late  this  duke  260 

Hath  ta'en  displeasure  'gainst  his  gentle  niece, 
Grounded  upon  no  other  argument 
But  that  the  people  praise  her  for  her  virtues 
And  pity  her  for  her  good  father's  sake  ; 
And,  on  my  life,  his  malice  'gainst  the  lady 
Will  suddenly  break  forth.     Sir,  fare  you  well: 
Hereafter,  in  a  better  world  than  this, 
I  shall  desire  more  love  and  knowledge  of  you. 

Orlando.   I  rest  much  bounden  to  you  :  fare  you  well. 

[  Exit  Le  Beau. 

Thus  must  I  from  the  smoke  into  the  smother;  270 

From  tyrant  duke  unto  a  tyrant  brother: — 
But  heavenly  Rosalind  !  \Exit. 

SCKXK  III.     A  Room  in  the  Palace. 
Enter  CKI.IA  and  ROSALIND. 

Celia.   Why,  cousin  !   why,  Rosalind!    Cupid   have  mercy! 
not  a  word  ? 

Rosalind.   Nut  one  to  throw  at  a  clog. 


ACT  I.     SCENE  I  If. 


43 


Celia.  No,  thy  words  are  too  precious  to  be  cast  away 
upon  curs;  throw  some  of  them  at  me:  come,  lame  me 
with  reasons. 

Rosalind.  Then  there  were  two  cousins  laid  up;  when  the 
one  should  be  lamed  with  reasons,  and  the  other  mad  with- 
out any. 

Celia.  But  is  all  this  for  your  father  ?  10 

Rosalind.  No,  some  of  it  is  for  my  child's  father.  O,  how 
full  of  briers  is  this  working-clay  world! 

Celia.  They  are  but  burs,  cousin,  thrown  upon  thee  in 
holiday  foolery;  if  we  walk  not  in  the  trodden  paths,  our 
very  petticoats  will  catch  them. 

Rosalind.  I  could  shake  them  off  my  coat;  these  burs  are 
in  my  heart. 

Celia.   Hem  them  away. 

Rosalind.  I  would  try,  if  I  could  cry  hem  and  have 
him.  20 

Celia.  Come,  come,  wrestle  with  thy  affections. 

Rosalind.  O,  they  take  the  part  of  a  better  wrestler  than 
myself! 

Celia.  O,  a  good  wish  upon  you  !  you  will  try  in  time,  in 
despite  of  a  fall.  But,  turning;  these  jests  out  of  service,  let 
us  talk  in  good  earnest.  Is  it  possible,  on  such  a  sudden, 
you  should  fall  into  so  strong  a  liking  with  old  Sir  Row- 
land's youngest  son  ? 

Rosalind.  The  duke  my  father  lov'd  his  father  dearly.      2., 

Celia.  Doth  it  therefore  ensue  that  you  should  love  his 
son  dearly?  By  this  kind  of  chase,  I  should  hate  him, 
for  my  father  hated  his  father  dearly;  yet  I  hate  not  Or- 
lando. 

Rosalind.   No,  faith,  hate  him  not,  for  my  sake. 

CJii.   Why  should  I  not?  doth  he  not  deserve  well? 

Rosalind.  Let  me  love  him  for  that,  and  do  you  love  him 
because  I  do.— Look,  here  comes  the  duke. 

Celia.   With  his  eves  full  of  an-ier. 


44 


AS   YOU  LIKE  IT. 


Enter  DUKE  FREDERICK,  with  Lords. 

Duke  Frederick.    Mistress,  dispatch  you  with  your  safest 

haste, 
And  get  you  from  our  court. 

Rosalind.  Me,  uncle  ? 

Duke  Frederick.  You,  ccusin:     4» 

Within  these  ten  days  if  that  thou  be'st  found 
So  near  our  public  court  as  twenty  miles, 
Thou  diest  for  it. 

Rosalind.  I  do  beseech  your  grace, 

Let  me  the  knowledge  of  my  fault  bear  with  me: 
If  with  myself  I  hold  intelligence 
Or  have  acquaintance  with  mine  own  desires. 
If  that  I  do  not  dream  or  be  not  frantic, — 
As  I  do  trust  I  am  not, — then,  clear  uncle, 
Never  so  much  as  in  a  thought  unborn t 
Did  I  offend  your  highness. 

Duke  Frederick.  Thus  do  all  traitors  ;  50 

If  their  purgation  did  consist  in  words, 
They  are  as  innocent  as  grace  itself: 
Let  it  suffice  thee  that  I  trust  thee  not. 

Rosalind.  Yet  your  mistrust  cannot  make  me  a  traitor: 
Tell  me  whereon  the  likelihood  depends. 

Duke  Frederick.  Thou   art    thy   father's   daughter;  there's 
enough. 

Rosalind.   So  was  I   when  your  highness  took  his  duke- 
dom ; 

So  was  I  when  your  highness  banish'd  him. 
Treason  is  not  inherited,  my  lord; 

Or,  if  we  did  derive  it  from  our  friends,  («- 

What  's  that  to  me  ?  my  father  was  no  traitor: 
Then,  good  my  liege,  mistake  me  not  so  much 
To  think  my  poverty  is  treacherous. 

Cclia.   Dear  sovereign,  hear  me  speak. 


ACT  I.    SCENE   ///.  45 

Duke  Frederick.  Ay,  Celia  ;  we  stay'cl  her  for  your  sake. 
Else  had  she  with  her  father  rang'cl  along. 

Celia.  I  did  not  then  entreat  to  have  her  stay; 
It  was  your  pleasure  and  your  own  remorse. 
I  was  too  young  that  time  to  value  her, 

But  now  I  know  her:  if  she  be  a  traitor,  ?> 

Why  so  am  I ;  we  still  have  slept  together, 
Rose  at  an  instant,  learn'd,  play'd,  eat  together, 
And  wheresoe'er  we  went,  like  Juno's  swans, 
Still  we  went  coupled  and  inseparable. 

Duke  Frederick.    She   is    too   subtle    for   thet ;    and    her 

smoothness, 

Her  very  silence  and  her  patience, 
Speak  to  the  people,  and  they  pity  her. 
Thou  art  a  fool:  she  robs  thee  of  thy  name; 
And  thou  wilt  show  more  bright  and  seem  more  virtuous 
When  she  is  gone.     Then  open  not  thy  lips:  So 

Firm  and  irrevocable  is  my  doom 
Which  I  have  pass'd  upon  her;  she  is  banish'd. 

Celia.   Pronounce  that  sentence  then  on  me,  my  liege: 
I  cannot  live  out  of  her  company. 

Duke  Frederick.    You   are    a    fool.  —  You,  niece,  provide 

yourself: 

If  you  outstay  the  time,  upon  mine  honour, 
And  in  the  greatness  of  my  word,  you  die. 

\Exennt  Duke  Frederick  and  Lords. 

Celia.   O  my  poor  Rosalind,  whither  wilt  thou  go? 
Wilt  thou  change  fathers?      I  will  give  thee  mine. 
I  charge  thee,  be  not  thou  more  griev'd  than  I  am. 

J\osalind.    I  have  more  cause. 

Celia.  Thou  hast  not,  cousin' 

Prithee,  be  cheerful  :  know'st  thou  not,  the  duke 
Hath  banish'd  me,  his  daughter? 

Rosalind.  That  lie  hath  not. 

Celia.   No,  hath  not?     Rosalind  lacks  then  the  love 


46  AS  YOU  LIKE  IT. 

Which  teacheth  thee  that  thou  and  I  am  one: 

Shall  we  be  sunder'd?  shall  we  part,  sweet  girl? 

No :  let  my  father  seek  another  heir. 

'1  herefore  devise  with  me  how  we  may  fly, 

Whither  to  go,  and  what  to  bear  with  us; 

And  do  not  seek  to  take  the  charge  upon  you,  «oo 

To  bear  your  griefs  yourself  and  leave  me  out ; 

For,  by  this  heaven,  now  at  our  sorrows  pale, 

Say  what  thou  canst,  I  '11  go  along  with  thee. 

Rosalind.  Why,  whither  shall  we  go  ? 

Cclia.  To  seek  my  uncle  in  the  forest  of  Arden. 

Rosalind.  Alas,  what  danger  will  it  be  to  us, 
Maids  as  we  are,  to  travel  forth  so  far  ! 
Beauty  provoketh  thieves  sooner  than  gold. 

Cclia.  1  '11  put  myself  in  poor  and  mean  attire, 
And  with  a  kind  of  umber  smirch  my  face;  no 

The  like  do  you  :  so  shall  we  pass  along 
And  never  stir  assailants. 

Rosalind.  Were  it  not  better, 

Because  that  I  am  more  than  common  tall, 
That  I  did  suit  me  all  points  like  a  man  ? 
A  gallant  curtle-axe  upon  my  thigh, 
A  boar-spear  in  my  hand ;  and,  in  my  heart 
Lie  there  what  hidden  woman's  fear  there  will, 
We  '11  have  a  swashing  and  a  martial  outside, 
As  many  other  mannish  cowards  have 
That  do  outface  it  with  their  semblances.  ia- 

Cclia.  What  shall  I  call  thee  when  thou  art  a  man  ? 

Rosalind.   I  '11   have  no  worse   a    name  than  Jove's   own 

page, 

And  therefore  look  you  call  me  Ganymede. 
I5u t  what  will  you  be  call'd  ? 

Cclia.   Something  that  hath  a  reference  to  my  state: 
No  longer  Celia,  but  Aliena. 

Rosalind.   But,  cousin,  what  if  we  assay  'cl  to  steal 


ACT  I.     SCENE  III. 


47 


The  clownish  fool  out  of  your  father's  court? 
Would  he  not  be  a  comfort  to  our  travel  ? 

Celia.  He  '11  go  along  o'er  the  wide  world  with  me ;        13^ 
Leave  me  alone  to  woo  him.     Let  's  away, 
And  get  our  jewels  and  our  wealth  together, 
Devise  the  fittest  time  and  safest  way 
To  hide  us  from  pursuit  that  will  be  made 
After  my  flight.     Now  go  we  in  content 
To  liberty,  and  not  to  banishment.  \Exeunt 


"  Dear  master,  I  can  go  no  further"  (ii.  6.  i). 


ACT  II. 

SCENE  I.     The  Forest  of  Ardcn. 

Enter  DUKK  Senior,  AMI  ENS,  and  two  or  three  Lords, 
like  foresters. 

Duke  Senior.  Now,  my  co-mates  and  brothers  in  exile. 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp?     Are  not  these  woods 
More  free  from  peril  than  the  envious  court? 
Mere  feel  we  not  the  penalty  of  Adam. 
The  seasons'  difference, — as  the  icy  fang 


ACT  II.     SCENE   1. 

And  churlish  chicling  of  the  winter's  wind, 
Which,  when  it  bites  and  blows  upon  my  body, 
Even  till  I  shrink  with  cold,  I  smile  and  say 
'This  is  no  flattery' — these  are  counsellors 
That  feelingly  persuade  me  what  I  am. 
Sweet  are  ihe  uses  of  adversity^ 
Which,  like  the  toad,  ugly  and  venomous, 
Wears  yet  a  precious  jewel  in  his  head  ; 
And  this  our  life,  exempt  from  public  haunt; 
Finds  tongues  in  trees,  books  in. tJie_ruuuing  brooks, 
Sermons  in  stones,  and  good  in*everything. 
I  would  not  change  it. 

Amiens.  Happy  is  your  grace, 

That  can  translate  the  stubbornness  of  fortune 
Into  so  quiet  and  so  sweet  a  style. 

Duke  Senior.  Come,  shall  we  go  and  kill  us  venison? 
And  yet  it  irks  me  the  poor  dappled  fools, 
Being  native  burghers  of  this  desert  city, 
Should  in  their  own  confines  with  forked  heads 
Have  their  round  haunches  gor'd. 

First  Lord.  Indeed,  my  lord, 

The  melancholy  Jaques  grieves  at  that, 
And,  in  that  kind,  swears  you  do  more  usurp 
Than  doth  your  brother  that  hath  banish'd  you. 
To-day  my  lord  of  Amiens  and  myself 
Did  steal  behind  him  as  he  lay  along 
Under  an  oak,  whose  antique  root  peeps  out 
Upon  the  brook  that  brawls  along  this  wood  : 
To  the  which  place  a  poor  sequester'd  stag, 
That  from  the  hunter's  aim  had  ta'en  a  hurt, 
Did  come  to  languish  ;  and  indeed,  my  lord, 
The  wretched  animal  heavM  forth  such  groans 
That  their  discharge  did  Mietch  his  leathern  coat 
Almost  to  bursting,  and  the  big  round  tears 
Cours'd  one  another  down  hi.s  innocent  nose 

D 


49 


50  AS    YOU  LIKE  IT. 

In  piteous  chase  :  and  thus  the  hairy  fool,  40 

Much  marked  of  the  melancholy  Jaques. 
Stood  on  the  extremes!  verge  of  the  swift  brook, 
Augmenting  it  with  tears. 

Duke  Senior.  But  what  said  Jaques? 

Did  he  not  moralize  this  spectacle? 

First  Lord.  O,  yes,  into  a  thousand  similes. 
First,  for  his  weeping  into  the  needless  stream ; 
'  Poor  deer,'  quoth  he,  '  thou  mak'st  a  testament 
As  worldlings  do,  giving  thy  sum  of  more 
To  that  which  had  too  much.'     Then,  being  there  alone, 
Left  and  abandon'd  of  his  velvet  friends ;  5, 

'  'T  is  right,'  quoth  he  ;  '  thus  misery  doth  part 
Theflux  of  company.'     AnonTa  careless  herd, 
FuTTof  the  pasture,  jumps  along  by  him, 
And  never  stays  to  greet  him.     '  Ay,'  quoth  Jaques, 
'  Sweep  on,  you  fat  and  greasy  citizens  ; 
'T  is  just  the  fashion  :   wherefore  do  you  look 
Upon  that  poor  and  broken  bankrupt  there?' 
Thus  most  invectively  he  pierceth  through 
The  body  of  the  country,  city,  court, 

Yea,  and  of  this  our  life,  swearing  that  we  c- 

Are  mere  usurpers,  tyrants,  and  what  's  worse, 
To  fright  the  animals  and  to  kill  them  up 
In  their  assign'd  and  native  dwelling-place. 

Duke  Senior.  And  did  you  leave  him  in  this  contemplation  ' 

Second  Lord.   We  did,  my  lord,  weeping  and  commenting 
Upon  the  sobbing  deer. 

Duke  Senior.  Show  me  the  place  : 

I  love  to  cope  him  in  these  sullen  fits, 
For  then  he  's  full  of  matter. 

first  Lord.   I  '11  bring  you  to  him  straight.  \Exeunt. 


ACT  II.     SCENES  II.  AXD   HI. 


SCENE  II.     A  Room  in  the  Palace. 
Enter  DUKE  FREDERICK,  with  Lords. 

Duke  Frederick.   Can  it  be  possible  that  no  man  saw  them  : 
It  cannot  be  :  some  villains  of  my  court 
Are  of  consent  and  sufferance  in  this. 

First  Lont.   I  cannot  hear  of  any  that  did  see  her. 
The  ladies,  her  attendants  of  her  chamber, 
Saw  her  a-bed,  and  in  the  morning  early 
They  found  the  bed  untreasur'd  of  their  mistress. 

Second  Lord.   My  lord,  the  royriish  clown,  at  whom  so  oft 
Your  grace  was  wont  to  laugh,  is  also  missing. 
Hesperia,  the  princess'  gentlewoman,  to 

Confesses  that  she  secretly  o'erheard 
Your  daughter  and  her  cousin  much  commend 
The  parts  and  graces  of  the  wrestler 
That  did  but  lately  foil  the  sinewy  Charles; 
And  she  believes,  wherever  they  are  gone, 
That  youth  is  surely  in  their  company. 

Duke  Frederick.   Send  to  his  brother;   fetch  that  gallant 

hither  : 

If  he  be  absent,  bring  his  brother  to  me; 
I  '11  make  him  find  him  :  do  this  suddenly, 
And  let  not  search  and  inquisition  quail  iu 

To  bring  again  these  foolish  runaways.  [Exeunt. 

SCENE    III.       Before   Olivers   House. 
Enter  (')RI.ANDO  (///(/  ADAM,  meeting. 

Orlando.   Who  's  there? 

Adam.   What,  my  young  masti-r?     ()  my  gentle  master! 
O  my  sweet  master!     ()  you  memory 
Of  old  Sir  Rowland  !   why,  what  make  you  here? 
Why  are  you  virtuous  ?  why  do  people  love  you? 


5  2  AS    YOU  LIKE  IT. 

And  wherefore  are  you  gentle,  strong,  and  valiant  ? 

Why  would  you  be  so  fond  to  overcome 

The  bonny  priser  of  the  humorous  duke  ? 

Your  praise  is  come  too  swiftly  home  before  you. 

Know  you  not,  master,  to  some  kind  of  men  1 

Their  graces  serve  them  but  as  enemies? 

No  more  do  yours  :  your  virtues,  gentle  master, 

Are  sanctified  and  holy  traitors  to  you. 

O,  what  a  world  is  this,  when  what  is  comely 

Envenoms  him  that  bears  it ! 

Orlando.  Why,  what  's  the  matter? 

Adam.  O  unhappy  youlh  ! 

Come  not  within  these  doors;  within  this  root 
The  enemy  of  all  your  graces  lives  : 
Your  brother — no,  no  brother;  yet  the  son  — 
Yet  not  the  son,  I  will  not  call  him  son  2 

Of  him  I  was  about  to  call  his  father- 
Hath  heard  your  praises,  and  this  night  he  means 
To  burn  the  lodging  where  you  use  to  lie 
And  you  within  it :   if  he  fail  of  that, 
He  will  have  other  means  to  cut  you  off. 
I  overheard  him  in  his  practices. 
This  is  no  place;  this  house  is  but  a  butchery; 
Abhor  it,  fear  it,  do  not  enter  it. 

Orlando.   Why,  whither,  Adam,  wouldst  thou  have  me  go  ? 

Adam.   No  matter  whither,  so  you  come  not  here.  3 

Orlando.   What,  wouldst  thou  have  me  go  and  beg  my  fjod  3 
Or  with  a  base  and  boisterous  sword  enforce 
A  thievish  living  on  the  common  road  ? 
This  I  must  do,  or  know  not  what  to  dix, 
Yet  this  I  will  not  do,  do  how  I  can  ; 
]  rather  will  subject  me  to  the  malice 
Of  a  diverted  blood  and  bloody  brother. 

Adam.   But  do  not  so.      I  have  five  hundred  crowns. 
The  thrifty  hire  I  sav'd  under  your  father, 


ACT  II.     SCENE    III.  53 

Which  I  did  store  to  be  my  foster-nurse  40 

When  service  should  in  my  old  limbs  lie  lame 

And  unregarded  age  in  corners  thrown  : 

Take  that,  and  He  that  doth  the  ravens  feed, 

Yea,  providently  caters  for  the  sparrow, 

Be  comfort  to  my  age  !     Here  is  the  gold; 

All  this  I  give  you.     Let  me  be  your  servant: 

Though  I  look  old,  yet  I  am  strong  and  lusty: 

For  in  my  youth  I  never  did  apply 

Hot  and  rebellious  liquors  in  my  blood, 

Nor  did  not  with  unbashful  forehead  woo 

The  means  of  weakness  and  debility  ; 

Therefore  my  age  is  as  a  lusty  winter, 

Frosty,  but  kindly.     Let  me  go  with  you; 

I  '11  do  the  service  of  a  younger  man 

In  all  your  business  and  necessities. 

Orlando.  O  good  old  man  !  how  well  in  thee  appears 
The  constant  service  of  the  antique  world, 
When  service  sweat  for  duty,  not  for  meed  ! 
Thou  art  not  for  the  fashion  of  these  times, 
Where  none  will  sweat  but  for  promotion,  60 

And  having  that,  do  choke  their  service  up 
Even  with  the  having :   it  is  not  so  with  thee. 
But,  poor  old  man,  thou  prun'st  a  rotten  tree, 
That  cannot  so  much  as  a  blossom  yield 
In  lieu  of  all  thy  pains  and  husbandry. 
But  come  thy  ways;  we  '11  go  along  together, 
And  ere  we  have  thy  youthful  wages  spent, 
\Ve  '11  light  upon  some  settled  low  content. 

Adam.   Master,  go  on,  and  I  will  follow  thee, 
To  the  last  gasp,  with  truth  and  loyalty.  ?0 

From  seventeen  years  till  now  almost  fourscore 
Here  lived  I,  but  now  live  here  no  more. 
At  seventeen  years  many  their  fortunes  seek, 
lint  at  fourscore  it  is  too  late  a  week  : 


54 


AS    YOU  LIKE  IT. 


Yet  fortune  cannot  recompense  me  better 

Than  to  die  well,  and  not  my  master's  debtor.  [Exeunt, 

SCENE  IV.     The  Forest  of  Arden. 

Enter  ROSALIND  for  GANYMEDE,  CELIA  for  ALIENA, 
and  TOUCHSTONE. 

Rosalind.  O  Jupiter  !  how  weary  are  my  spirits  ! 

Touchstone.  I  care  not  for  my  spirits,  if  my  legs  were  not 
•weary. 

Rosalind.  I  could  find  in  my  heart  to  disgrace  my  man's 
apparel  and  to  cry  like  a  woman ;  but  I  must  comfort  the 
weaker  vessel,  jT^rlnnhUjj  rmrl  hrmp  ought-  to  show  itself 
courageous  to  petticoat:  therefore  courage,  good  Aliena! 

Cclia.  I  pray  you,  bear  with  me ;  I  cannot  go  no  further. 

Touchstone.  For  my  part,  I  had  rather  bear  with  you  than 
bear  you;  yet  I  should  bear  no  cross  if  I  did  bear  you,  for  I 
think  you  have  no  money  in  your  purse.  n 

Rosalind.  Well,  this  is  the  forest  of  Arden. 

Touchstone.  Ay,  now  am  I  in  Arden  ;  the  more  fool  I  ! 
when  I  was  at  home,  I  was  in  a  better  place  :  but  travellers 
must  be  content. 

Rosalind.  Ay,  be  so,  good  Touchstone. — Look  you,  who 
comes  here;  a  young  man  and  an  old  in  solemn  talk. 

Enter  CORIN  and  SILVIUS. 

Corin.  That  is  the  way  to  make  her  scorn  you  still. 

Silrius.  O  Corin,  that  thou  knew'st  how  I  do  love  her! 

Corin.  I  partly  guess ;  for  I  have  lov'd  ere  now. 

Silvias.   No,  Corin,  being  old,  thou  canst  not  guess, 
Though  in  thy  youth  thou  wast  as  true  a  lover 
As  ever  sigh'd  upon  a  midnight  pillow  ; 
.But  if  thy  love  were  ever  like  to  mine — 
As  sure  I  think  did  never  man  love  so — 
How  many  actions  most  ridiculous 
Hast  thou  been  drawn  to  by  thy  fantasy? 


ACT  II.     SCENE  IV. 


55 


Corin.   Into  a  thousand  that  I  have  forgotten. 

Silvius.  O,  thou  didst  then  ne'er  love  so  heartily ! 
If  thou  remember'st  not  the  slightest  folly  J0 

That  ever  love  did  make  thee  run  into, 
Thou  hast  not  lov'd  : 
Or  if  thou  hast  not  sat  as  I  do  now, 
Wearing  thy  hearer  in  thy  mistress'  praise, 
Thou  hast  not  lov'd  : 
Or  if  thou  hast  not  broke  from  company 
Abruptly,  as  my  passion  now  makes  me, 
Thou  hast  not  lov'd. 

0  Phebe,  Phebe,  Phebe  !  \Exit. 
Rosalind.   Alas,  poor  shepherd  !  searching  of  thy  wound, 

1  have  by  hard  adventure  found  mine  own.  41 

Touchstone.  And  I  mine.  I  remember  when  I  was  in  love 
I  broke  my  sword  upon  a  stone,  and  bid  him  take  that  for 
coming  a-night  to  Jane  Smile;  and  I  remember  the  kissing 
of  her  ballet  and  the  cow's  dugs  that  her  pretty  chopt  hands 
had  milked;  and  I  remember  the  wooing  of  a  peascod  in- 
stead of  her,  from  whom  I  took  two  cods,  and,  giving  her 
them  again,  said  with  weeping  tears,  '  Wear  these  for  my 
sake.'  We  that  are  true  lovers_njn  jntp strange  capers:  but 
as  all  is  mortal  in  nature,  so  is  all  nature  in  love  mortal  in 
folly.  Si 

Rosalind.  Thou  speakest  wiser  than  thou  art  ware  of. 

Touchstone.  Nay,  I  shall  ne'er  be  ware  of  mine  own  wit 
till  I  break  my  sivi-H^- against  it. 

Rosalind.   Jove,  Jove  !   this  shepherd's  passion 
Is  much  upon  my  fashion. 

Touchstone.  And  mine  ;  but  it  grows  something  stale  with 
me. 

Celict.   I  pray  you,  one  of  you  question  yond  man 
If  he  for  gold  will  give  us  any  food  :  »v, 

I  faint  almost  to  death. 

Touchstone.  Holla,  you  clown! 


56  AS   YOU  LIKE  IT. 

Rosalind.  Peace,  fool ;  he  's  not  thy  kinsman. 

Corin.  Who  calls? 

Touchstone.  Your  betters,  sir. 

Corin.  Else  are  they  very  wretched. 

Rosalind.  Peace,  I  say. — Good  even  to  you,  friend. 

Corin.  And  to  you,  gentle  sir,  and  to  you  all. 

Rosalind.  I  prithee,  shepherd,  if  that  love  or  gold 
Can  in  this  desert  place  buy  entertainment, 
Bring  us  where  we  may  rest  ourselves  and  feed  : 
Here  's  a  young  maid  with  travel  much  oppress'd 
And  faints  for  succour. 

Corin.  Fair  sir,  I  pity  her,  70 

And  wish,  for  her  sake  more  than  for  mine  own, 
My  fortunes  were  more  able  to  relieve  her ; 
But  I  am  shepherd  to  another  man 
And  do  not  shear  the  fleeces  that  I  graze  : 
My  master  is  of  churlish  disposition, 
And  little  recks  to  find  the  way  to  heaven 
By  doing  deeds  of  hospitality. 
Besides,  his  cote,  his  flocks,  and  bounds  of  feed 
Are  now  on  sale,  and  at  our  sheepcote  now, 
By  reason  of  his  absence,  there  is  nothing  SQ 

That  you  will  feed  on  ;  but  what  is,  come  see, 
And  in  my  voice  most  welcome  shall  you  be. 

Rosalind.  What  is  he  that  shall  buy  his  flock  and  pasture? 

Corin.  That  young  swain  that  you  saw  here  but  erewhile, 
That  little  cares  for  buying  any  thing. 

Rosalind.   I  pray  thee,  if  it  stand  with  honesty, 
Buy  thou  the  cottage,  pasture,  and  the  flock 
And  thou  shall  have  to  pay  for  it  of  us. 

Celia.   And  we  will  mend  thy  wagc-s.     1  like  this  place, 
And  willingly  could  waste  my  time  in  it.  ^ 

Corin.   Assuredly  the  thing  is  to  be  sold  : 
Go  with  me  ;  if  you  like  upon  report 
The  soil,  the  profit,  and  this  kind  of  life, 


ACT  II.     SCENE 


57 


I  will  your  very  faithful  feeder  be, 

.-\nd  buy  it  with  your  gold  right  suddenly.  [Rxcunt 

SCENE  V.     The  Forest. 
Enter  AMIENS,  JAQUES,  and  others. 

Song 

Amiens.  Under  the  greenwood  tree 

Who  loves  to  lie  with  me, 
And  turn  his  merry  note 
Unto  the  sweet  bird's  throat, 
Come  hither,  come  /lit her,  come  hither  : 
Here  shall  he  see 
No  enemy 
But  winter  and  rough  weatJier. 

Jaques.   More,  more,  I  prithee,  more  !  o 

Amiens.  It  will  make  you  melancholy,  Monsieur  Jaques. 

Jaques.  I  thank  it.  More,  I  prithee,  more !  I  can  suck 
melancholy  out  of  a  song,  as  a  weasel  sucks  eggs.  More,  I 
prithee,  more  ! 

Amiens.  Myvoi^ejj^rjiggeil :  I  know  I  cannot  please  you. 

Jaques.  I  do  not  desire  you  to  please  me  ;  I  do  desire 
YOU  to  sing.  Come,  more ;  another  stan/o :  call  you  'em 
stanzos  ? 

Amiens.  What  you  will,  Monsieur  Jaques. 

Jaques.  Nay,  I  care  not  for  their  names  ;  they  owe  me 
nothing.  Will  you  sing?  2.-. 

Amiens.   More  at  your  request  than  to  please  myself. 

Jaques.  '\Yell  then,  if  ever  I  thank  any  man.  I  '11  thank 
you  :  but  that  they  call  compliment  is  like  the  encounter  of 
two  dog-apes  ;  and  when  a  man  thanks  UK-  heartily,  me- 
thinks  I  have  given  him  a  penny  and  he  renders  me  the 
beggarly  thanks.  Come,  sing  ;  and  you  that  will  not,  hold 
your  tongues. 


5g  AS   YOU  LIKE  IT. 

Amiens.  Well,  I  '11  end  the  song. — Sirs,  cover  the  while ; 
the  duke  will  drink  under  this  tree. — He  hath  been  all  this 
day  to  look  you.  30 

Jaques.  And  I  have  been  all  this  day  to  avoid  him.  He 
is  too  disputable  for  my  company  :  I  think  of  as  many  mat- 
ters as  he,  but  I  give  heaven  thanks  and  make  no  boast  of 
them.  Come,  warble,  come. 

Song. 

Who  doth  ambition  shun     [All  together  here. 
And  loves  to  live  i'  the  sun, 
Seeking  the  food  he  eats 
And  pleas' d  with  what  he  gets, 
Come  hither,  come  hither,  come  hither : 

Here  shall  he  see  40 

ATo  enemy 
But  winter  and  rough  weather. 

Jaques.   I  '11  give  you  a  verse  to  this  note  that  I  made 
yesterday  in  despite  of  my  invention. 
Amiens.   And  I  '11  sing  it. 
Jaqucs.  Thus  it  goes  : — 

Jf  it  do  come  to  pass 
That  any  man  turn  ass, 
Leaving  his  wealth  and  case, 
A  stubborn  will  to  please,  5c 

Ducdame,  ducdamc,  ducdame  : 
Here  s)iall  he  sec 
Gross  fools  as  he, 
An  if  he  will  come  to  me. 

Amiens.   What  's  that  'ducdame?' 

yaques.  'T  is  a  Greek  invocation,  to  call  fools  into  a  cir- 
cle. I  '11  go  sleep,  if  I  can  ;  if  I  cannot,  I  '11  rail  against  all 
the  firstborn  of  Kgypt. 

Amiens.  And  I  '11  go  seek  the  duke:  his  banquet  is  pre- 
pared. \Exeunt  severally. 


ACT  II.    SCENES   VI.  AND   I'll. 


59 


SCENE  VI.     The  Forest. 
Enter  ORLANDO  and  ADAM. 

Adam.  Dear  master,  I  can  go  no  further.  (>,  I  die  for 
food  !  Here  lie  I  down,  and  measure  out  my  grave.  Fare- 
well, kind  master. 

Orlando.  Why,  how  now,  Adam  !  no  greater  heart  in  thee  ? 
Live  a  little  ;  comfort  a  little  ;  cheer  thyself  a  little.  If  this 
uncouth  forest  yield  any  thing  savage,  I  will  either  be  food 
for  it  or  bring  it  for  food  to.  thee.  Thy  conceit  is  nearer 
death  than  thy  powers.  For  my  sake  be  comfortable;  hold 
death  awhile  at  the  arm's  end.  I  will  here  be  with  thee 
presently  ;  and  if  I  bring  thee  not  something  to  eat,  I  will 
give  thee  leave  to  die  :  but  if  thou  diest  before  I  come, 
thou  art  a  mocker  of  my  labour.  Well  said  !  thou  lookest 
cheerly,  and  I  '11  be  with  thee  quickly. — Yet  thou  liest  in 
the  bleak  air:  come,  I  will  bear  thee  to  some  shelter:  and 
thou  shall  not  die  for  lack  of  a  dinner,  if  there  live  any 
thing  in  this  desert.  Cheerly,  good  Adam  !  \_Excunt. 

SCKNK  VI  I.      The  Forest. 

A  table  set  out.     Enter  DUK.E   Senior,  AMIKXS,  and  Lords 
like  outlaws. 

Dnkc  Senior.   I  think  he  be  transformed  into  a  beast: 
For  I  can  no  where  find  him  like  a  man. 

First  Lord.   My  lord,  he  is  but  even  now  gone  hence; 
Mere  was  he  merry,  hearing  of  a  song. 

Duke  Senior.   If  he,  compact  of  jars,  grow  musical, 
We  shall  have_shortlv  discord  in  the  spheres. 
GeTseek  him  ;  tell  him  I  would  speak  with  him. 

Enter  JAOIT.S. 
first  Lord.   lie  saves  my  labour  by  his  own  approach. 


60  AS   YOU  LIKE  IT. 

Duke  Senior.  Why,  how  now,  monsieur  !  what  a  life  is  this, 
That  your  poor  friends  must  woo  your  company  !  m 

What,  you  look  merrily! 

jfaques.  A  fool,  a  fool !     I  met  a  fool  i'  the  forest, 
A  motley  fool ! — a  miserable  world  ! — 
As  J  do  live  by  food,  I  met  a  fool, 
Who  laid  him  down  and  bask'd  him  in  the  sun, 
And  rail'd  on  Lady  Fortune  in  good  terms, 
In  good  set  terms,  and  yet  a  motley  fool. 
•  Good  morrow,  fool,'  quoth  I.     '  No,  sir,'  quoth  he, 
'  Call  me  not  fool  till  heaven  hath  sent  me  fortune.' 
And  then  he  drew  a  dial  from  his  poke,  20 

And,  looking  on  it  with  lack-lustre  eye, 
Says  very  wisely, '  It  is  ten  o'clock  : 
Thus  we  may  see,'  quoth  he,  '  how  the  world  wags  : 
'T  is  but  an  hour  ago  since  it  was  nine, 
And  after  one  hour  more  't  will  be  eleven  ; 
And  so,  from  hour  to  hour,  we  ripe  and  ripe, 
And  then,  from  hour  to  hour,  we  rot  and  rot; 
And  thereby  lijingsj^jale.'     When  I  did  hear 
TTfe~"mo~tley  fool  thus  moral  on  the  time. 

My  lungs  began  to  crow  like  chanticleer,  3o 

That  fools  should  be  so  deep-contemplative, 
And  I  did  laugh  sans  intermission 
An  hour  by  his  dial. — ()  noble  fool ! 
A  worthy  fool  !     Motley  's  the  only  wear. 

Duke  Senior.   What  fool  is  this? 

Jaqites.  ()  worthy  fool  ! — One  that  hath  been  a  courtier, 
And  says,  if  ladies  be  but  young  and  fair, 
They  have  the  gift  to  know  it  ;   and  in  his  brain, 
Which  is  as  dry  as  the  remainder  biscuit 
After  a  voyage,  he  hath  strange  places  cramm'd  4,-, 

With  observation,  the  which  he  vents 
In  mangled  forms. — ()  that  I  were  a  fool! 
1  am  ambitious  for  a  motley  coat. 


ACT  II.    SCENE    Vlf.  6l 

Duke  Senior.  Thou  shall  have  one. 

Jaques.  It  is  my  only  suit ; 

Provided  that  you  weed  your  better  judgments 
Of  all  opinion  that  grows  rank  in  them 
That  I  am  wise.     I  must  have  liberty 
Withal,  as  large  a  charter  as  the  wind, 
To  blow  on  whom  I  please  ;  for  so  fools  have  : 
And  they  that  are  most  galled  with  my  folly,  50 

They  most  must  laugh.     And  why,  sir,  must  they  so? 
The  '  why '  is  plain  as  way  to  parish  church  : 
He  that  a  fool  cloth  very  wisely  hit 
Doth  very  foolishly,  although  he  smart, 
But  to  seem  senseless  of  the  bob  :  if  not, 
The  wise  man's  folly  is  anatomix'd 
Even  by  the  squandering  glances  of  the  fool. 
Invest  me  in  my  motley;  give  me  leave 
To  speak  my  mind,  and  I  will  through  and  through 
Cleanse  the  foul  body  of  the  infected  world, 
If  they  will  patiently  receive  my  medicine. 

Duke  Senior.   Fie  on   thee  !   I  can  tell  what  thou  wouldst 
do. 

Jaqites.  What,  for  a  counter,  would  I  do  but  good  ? 

Duke  Senior.   Most  mischievous  foul  sin,  in  chiding  sin  ; 
For  thou  thyself  hast  been  a  libertine, 
As  sensual  as  the  brutish  sting  itself; 
And  all  the  embossed  sores  and  headed  evils 
That  thou  with  license  of  free  foot  hast  caught 
Wouldst  thou  disgorge  into  the  general  world. 

Jaques.   Why,  who  cries  out  on  pride, 
That  can  therein  tax  ai.y  private  party? 
Doth  it  not  How  as  hugely  as  the  sea, 
Till  that  tile  wearer's  very  means  do  ebb? 
What  woman  in  the  city  do  I  name 
When  that  1  say  the  city  woman  bears 
The  cost  of  princes  on  unworthy  shoulders? 


62  <*S   YOU  LIKE  IT. 

Who  can  come  in  and  say  that  I  mean  her, 

When  such  a  one  as  she  such  is  her  neighbour  ? 

Or  what  is  he  of  basest  function 

That  says  his  bravery  is  not  on  my  cost,  PO 

Thinking  that  I  mean  him,  but  therein  suits 

His  folly  to  the  mettle  of  my  speech5 

There  then  ;  how  then  ?  what  then  ?     Let  me  see  wherein 

My  tongue  hath  wrong'cl  him  :  if  it  do  him  right, 

Then  he  haih  wrong'cl  himself;  if  he  be  free, 

Why  then  my  taxing  like  a  wild-goose  flies, 

Unclaim'd  of  any  man. — But  who  comes  here5 

Enter  ORLANDO,  with  his  sword  drawn. 

Orlando.   Forbear,  and  eat  no  more. 

%i(]iics.  Why,  I  have  eat  none  yet. 

Orlando.   Nor  shall  not,  till  necessity  be  serv'd. 

Jiiqiies.  Of  what  kind  should  this  cock  come  of?  yo 

Duke  Senior.  Art  thou  thus  bolden'd,  man,  by  thy  distress, 
Or  else  a  rude  despiser  of  good  manners, 
That  in  civility  thou  seem'st  so  empty? 

Orlando.  You  touch'd  my  vein  at  first  :   the  thorny  point 
Of  bare  distress  hath  ta'en  from  me  the  show 
Of  smooth  civility;  yet  am  I  inland  bred 
And  know  some  nurture.      But  forbear,  I  say: 
He  dies  that  touches  any  of  this  fruit 
Till  I  and  my  affairs  are  answered. 

Jaques.   An  you  will  not  be  answered  with  reason,  I  must 
die.  mi 

Duke  Senior.   What   would    you    have  ?      Your   gentleness 

shall  force, 
More  than  your  force  move  us  to  gentleness. 

O)/ando.    I  almost  die  for  food,  and  let  me  have  it 

Duke  Senior.   Sit    down    and    feed,   and    welcome    to    our 
table. 

Orlando.   Speak  you  so  gently?      I'aulon  me,  1  pray  you: 


ACT  II.     SCENE    VII.  63 

I  thought  that  all  things  had  been  savage  here; 

And  therefore  put  I  on  the  countenance 

Of  stern  commandment.     But  whate'er  you  are 

That  in  this  desert  inaccessible,  IIO 

Under  the  shade  of  melancholy  boughs, 

Lose  and  neglect  the  creeping  hours  of  time, 

If  ever  you  have  look'd  on  better  days, 

If  ever  been  where  bells  have  knoll'd  to  church, 

If  ever  sat  at  any  good  man's  feast, 

If  ever  from  your  eyelids  wip'd  a  tear, 

And  know  what  't  is  to  pity  and  be  pitied, 

Let  gentleness  my  strong  enforcement  be; 

In  the  which  hope  I  blush,  and  hide  my  sword. 

Duke  Senior.  True  is  it  that  we  have  seen  better  days,     1:0 
And  have  with  holy  bell  been  knoll'd  to  church, 
And  sat  at  good  men's  feasts,  and  wip'd  our  eyes 
Of  drops  that  sacred  pity  hath  engender'd  ; 
And  therefore  sit  you  down  in  gentleness, 
And  take  upon  command  what  help  we  have 
That  to  your  wanting  may  be  minister'd. 

O/lando.  Then  but  forbear  your  food  a  little  while, 
Whiles,  like  a  doe,  I  go  to  find  my  fawn 
And  give  it  food.     There  is  an  old  poor  man, 
Who  after  me  hath  many  a  weary  step  i;o 

Liinp'd  in  pure  love:  till  he  be  first  suffic'd, 
Oppress'd  with  two  weak  evils,  age  and  hunger, 
I  will  not  touch  a  bit. 

Duke  Senior.  Go  find  him  out, 

And  we  will  nothing  waste  till  you  return. 

Orlando.    I  thank  ye  ;  and  be  blest  for  your  good  comfort ! 

[A",-, 

Duke  Senior.   Thou  seest  we  are  not  all  alone  unhappy  • 
This  wide  and  universal  theatre 
Presents  more  woetui  pageants  than  the  scene 
Wherein  we  play  in. 


64  AS   YOU  LIKE  IT. 

Jaques.  All  the  world  's  a  stage, 

And  all  the  men  and  women  merely  players  :  no 

They  have  dieir  exits  andjheir  entrances,; 
'And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages.     At  first  the  infant, 
Mewling  and  puking  in  the  nurse's  arms  : 
Then  the  whining  school-boy,  with  his  satchel 
And  shining  morning  face,  creeping  like  snail 
Unwillingly  to  school  :  and  then  the  lover, 
Sighing  like  furnace,  with  a  woeful  ballad 
Made  to  his  mistress'  eyebrow  :  then  a  soldier, 
Full  of  strange  oaths  and  bearded  like  the  pard,  '& 

Jealous  in  honour,  sudden  and  quick  in  quarrel, 
Seeking  the  bubble  reputation    • 
Even  in  the  cannon's  mouth  :  and  then  the  justice, 
In  fair  round  belly  with  good  capon  lin'd, 
With  eyes  severe  and  beard  of  formal  cut, 
Full  of  wise  saws  and  modern  instances; 
And  so  he  plays  his  part :   the  sixth  age  shifts 
Into  the  lean  and  slipper'd  pantaloon, 
With  spectacles  on  nose  and  pouch  on  side, 
His  youthful  hose  well  sav'd,  a  world  too  wide  160 

For  his  shrunk  shank  ;  and  his  big  manly  voice, 
Turning  again  toward  childish  treble,  pipes 
And  whistles  in  hi.s  sound  :   last  scene  of  all, 
That  ends  this  strange  eventful  history, 
Is  second  childishness  and  mere  oblivion, 
Sans  teeth,  sans  eyes,  sans  taste,  sans  every  thing. 

Enter  ORLANDO,  with  ADAM. 

Duke  Senior.  Welcome.     Set  down  your  venerable  buiden. 
And  let  him  feed. 

Orlando.    I  thank  you  most  for  him. 

Adam.  So  had  you  need  : 

I  scarce  can  speak  to  thank  you  for  myself.  i70 


ACT  //.     SCENE    VII.  65 

Duke  Senior.  Welcome ;  fall  to  :  I  will  not  trouble  you 
As  yet,  to  question  you  about  your  fortunes. — 
Give  us  some  music;  and,  good  cousin,  sing. 

Song. 

Amiens.       Blow,  blow,  thou  winter  wind, 
Thou  art  not  so  unkind 

As  mans  ingratitude ; 
Thy  tooth  is  not  so  keen. 
Because  thou  art  not  seen, 

Although  thy  breath  be  rude. 

Heigh-ho!  sing,  heigh-ho !  unto  the  green  holly;  is, 

Most  friendship  is  feigning,  most  loving  mere  Jo! ly: 
Then,  heigh-ho,  the  holly  ! 
Tins  life  is  mo  .^t  jolly  ! 

Freeze,  freeze,  thou  bitter  sky, 
That  dost  not  bite  so  nigh 

As  benefits  forgot : 
Though  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp 

As  friend  remember  d  not. 
Heigh-ho!  sing,  etc.  ioc 

J)uke  Senior.    If  that  you  were  the  good  Sir  Rowland's  son, 
As  you  have  whisper'd  faithfully  you  were, 
Anil  as  mine  eye  doth  his  effigies  witness 
Most  truly  limn'd  and  living  in  your  face, 
]5e  tiuly  welcome  hither.      I  am  the  duke 
That  lov'il  your  father  :  the  residue  of  your  fortune, 
(io  to  my  cave  and  tell  me. — Good  old  man, 
Thou  art  right  welcome  as  thy  master  is.    - 
Support  him  by  the  arm.— Give  me  vour  hand,  ,.,, 

And  let  me  all  your  fortunes  understand.  f/-.\v: •///.-/. 

L 


'  Hang  there,  my  verse,  in  witness  of  my  love"  (iii  2   i). 


ACT  III. 

SCENE  I.     A  Room  in  the  Palace. 
Enter  DUKE  FREDERICK,  Lords,  and  OLIVER. 

Duke  Frederick.  Xot  see  him  since  ?    Sir,  sir,  that  cannot  be : 
But  were  I  not  the  better  part  made  mercy, 
I  should  not  seek  an  absent  argument 
Of  my  revenue,  thou  present.      Hut  look  to  it  : 
Find  out  thy  brother,  wheresoe'er  he  is  ; 
Seek  him  with  candle;  bring  him  dead  or  living 


ACT  III.     SCENE  //.  67 

Within  this  twelvemonth,  or  turn  thou  no  more 

To  seek  a  living  in  our  territory. 

Thy  lands  and  all  things  that  thou  dost  call  thine 

Worth  seizure  do  we  seize  into  our  hands,  ,0 

Till  thou  canst  quit  thee  by  thy  brother's  mouth 

Of  what  we  think  against  thee. 

Oliver.  O  that  your  highness  knew  my  heart  in  this  ! 
I  never  lov'd  my  brother  in  my  life. 

Duke  Frederick.   More  villain  thou.  —  Well,  push  him  out 

of  doors  ; 

And  let  my  officers  of  such  a  nature 
Make  an  extent  upon  his  house  and  lands  : 
Do  this  expediently,  and  turn  him  going.  \Exeunt. 

SCENE  II.      The  Forest. 
Enter  ORLANDO,  with  a  paper. 

Orlando.  Hang  there,  my  verse,  in  witness  of  my  love  ; 

And  thou,  thrice-crowned  queen  of  night,  survey 
With  thy  chaste  eye,  from  thy  pale  sphere  above, 
Thy  huntress'  name  that  my  full  life  cloth  sway. 
O  Rosalind  !  these  trees  shall  be  my  books, 

And  in  their  barks  my  thoughts  I  '11  character, 
That  every  eye  which  in  this  forest  looks 

Shall  see  thy  virtue  witness'd  every  where. 
Run,  run,  Orlando  ;  carve  on  every  tree  9 

The  fair,  the  chaste,  and  unexpressive  she. 


Enter  COKIN  and  TOUCHSTONE. 

Conn.  And  how  like  you  this  shepherd's  life,  Master 
Touchstone  ? 

Touchstone.  Truly,  shepherd,  in  respect  of  itself,  it  is  a 
good  life;  but  in  respect  that  it  is  a  shepherd's  life,  it  is 
naught.  In  respect  that  it  is  solitary,  I  like  it  very  well  ; 
but  in  respect  that  it  is  private,  it  is  a  very  vile  life.  Now, 


68  AS    YOU  LIKE  IT. 

in  respect  it  is  in  the  fields,  it  plcaseth  me  well ;  but  in  re- 
spect  it  is  not  in  the  court,  it  is  tedious.  As  it  is  a  spare 
life,  look  you,  it  fits  my  humour  well ;  but  as  there  is  no 
more  plenty  in  it,  it  goes  much  against  my  stomach.  Hast 
any  philosophy  in  thee,  shepherd  ?  21 

Corin,  No  more  but  that  I  know  the  more  one  sickens 
the  worse  at  ease  lie  is ;  and  that  he  that  wants  money, 
means,  and  content  is  without  three  good  friends ;  that  the 
property  of  rain  is  to  wet  and  fire  to  burn ;  that  good  past- 
ure makes  fat  sheep,  and  that  a  great  cause  of  the  night  is 
lack  of  the  sun;  that  he  that  hath  learned  no  wit  by  nature 
nor  art  may  complain  of  good  breeding,  or  comes  of  a  very 
dull  kindred. 

Touchstone.  Such  a  one  is  a  natural  philosopher.  Wast 
ever  in  court,  shepherd  ?  31 

Corin.   No,  truly. 

Touchstone.  Then  thou  art  damned. 

Corin.   Nay,  I  hope, — 

Touchstone.  Truly,  thou  art  damned,  like  an  ill  -  roasted 
egg  all  on  one  side. 

Conn.   For  not  being  at  court  ?     Your  reason. 

Touchstone.  Why,  if  thou  never  wast  at  court,  thou  never 
saw'st  good  manners;  if  thou  never  saw'st  good  manners, 
then  thy  manners  must  be  wicked;  and  wickedness  is  sin, 
and  sin  is  damnation.  Thou  art  in  a  parlous  state,  shep- 
herd. 4.1 

Corin.  Not  a  whit,  Touchstone  :  those  that  are  good  man- 
ners at  the  court  are  as  ridiculous  in  the  country  as  the 
behaviour  of  the  country  is  most  mockable  at  the  court. 
You  told  me  you  salute  not  at  the  court,  but  you  kiss  your 
hands  :  that  courtesy  would  be  uncleanly,  if  courtiers  were 
shepherds. 

Touchstone.   Instance,  briefly  ;  come,  instance. 

Corin.  Why,  we  are  still  handling  our  ewes ;  and  their 
fells,  you  know,  are  greasy.  5o 


ACT  III.     SCENE   II.  69 

Touchstone.  Why,  do  not  your  courtier's  hands  sweat  ?  and 
is  not  the  grease  of  a  mutton  as  wholesome  as  the  sweat  of  a 
man?  Shallow,  shallow  !  A  better  instance,  I  say;  come. 

Corin.  Besides,  our  hands  are  hard. 

Touchstone.  Your  lips  will  feel  them  the  sooner.  Shallow 
again  !  A  more  sounder  instance;  come. 

Corin.  And  they  are  often  tarred  over  with  the  surgery  of 
our  sheep;  and  would  you  have  us  kiss  tar?  The  courtier's 
hands  are  perfumed  with  civet. 

Touchstone.  Most  shallow  man  !  thou  worms'-meat,  in  re- 
spect of  a  good  piece  of  rlesh  indeed  !  Learn  of  the  wise, 
and  perpend  :  civet  is  of  a  baser  birth  than  tar,  the  very 
uncleanly  flux  of  a  cat.  Mend  the  instance,  shepherd.  03 

Conn.  You  have  too  courtly  a  wit  for  me  ;  I  '11  rest. 

Touchstone.  \Yi!t  thou  rest  damned?  God  help  thee,  shal- 
low man  !  God  make  incision  in  thee  !  thou  art  raw. 

Corin.  Sir,  I  am  a  true  labourer  :  I  earn  that  I  eat,  get 
that  I  wear;  owe  no  man  hate,  envy  no  man's  happiness; 
glad  of  other  men's  good,  content  with  my  harm;  and  the 
greatest  of  my  pride  is  to  see  my  ewes  graze  and  my  lambs 
suck.  7i 

Touchstone.  That  is  another  simple  sin  in  you,  to  bring  the 
ewes  and  the  rams  together.  If  thou  be'st  not  damned  for 
this,  the  devil  himself  will  have  no  shepherds  :  I  cannot  see 
else  how  thou  shouldst  scape. 

Corin.  Here  comes  young  Master  Ganymede,  my  new 
mistress's  brother. 

I'.nter  ROSALIND,  reading  a  paper. 
Rosalind.  From  the  cast  to  western  Ind, 
J\1>  _/(7i'('/  is  like  Rosalind. 

Jfer  worth,  biinr  mounted  on  tlie  n'ind,  s.> 

Through  all  the  world  bears  Rosalind. 
All  the  pictures  fairest  lin'd 
Arc  but  black  to  Rosalind. 


7o  AS   YOU  LIKE  IT. 

Let  no  face  be  kept  in  mind 
But  the  fair  of  Rosalind. 

Touchstone.  I  '11  rhyme  you  so  eight  years  together,  din- 
ners and  suppers  and  sleeping-hours  excepted  :   it  is  tne 
right  butter -women's  rank  to  market. 
Rosalind.  Out,  fool  ! 

Touchstone.  For  a  taste  :  oo 

If  a  hart  do  lack  a  hind, 
Let  him  seek  out  Rosalind. 
If  the  cat  will  after  kind, 
So  be  sure  will  Rosalind. 
Winter  garments  must  be  lin'd, 
So  must  slender  Rosalind. 
They  that  reap  must  sheaf  and  bind; 
Then  to  cart  with  Rosalind. 
Sweetest  nut  hath  sourest  rind, 
Such  a  nut  is  Rosalind.  I0o 

He  that  sweetest  rose  will  find 
Must  find  love's  prick  and  Rosalind. 

This  is  the  very  false  gallop  of  verses  :  why  do  you  infect 
yourself  with  them  ? 

Rosalind.   Peace,  you  dull  fool !  I  found  them  on  a  tree. 
Touchstone.  Truly,  the  tree  yields  bad  fruit. 
Rosalind.   I  '11  graff  it  with  you,  and  then  I  shall  graff  it 
with  a  medlar  :  then  it  will  be  the  earliest  fruit  i'  the  coun- 
try;  for  you  '11  be  rotten  ere  you  be  half  ripe,  and  that  's 
the  right  virtue  of  the  medlar.  no 

Touchstone.   You  have  said;  but  whether  wisely  or  no,  let 
the  forest  judge. 

Enter  CKI.IA,  with  a  writing. 
Rosalind.   Peace  ! 
Here  comes  my  sister,  reading  :  stand  aside. 


ill.     SCENE    //.  7, 

Cdia.   [Reads] 

Why  should  this  a  desert  be  ? 
For  it  is  unpeopled  I     No  ; 
Tongues  I  '//  hang  on  every  tree, 

That  shall  civil  sayings  show  .• 
Some,  how  brief  Hie  life  of  man 

Runs  his  erring  pilgrimage^  uo 

That  the  stretching  of  a  span 

Buckles  in  his  sum  of  age; 
Some,  of  violated  vows 

'Tun'xt  the  souls  of  friend  and  friend. 
But  upon  the  fairest  boughs, 

Or  at  every  sentence  end, 
II  'ill  I  Rosalinda  writ':, 

Teaching  all  that  read  to  know 
'1  he  quintessence  of  every  sprite 

Heaven  would  in  little  show.  IJO 

Therefore  Heaven  Nature  charged 

That  one  body  should  be  Jill '  d 
/TV///  all  graces  wide-cnlarg"d : 

Nature  presently  distill'd 
Ifelen's  check,  but  not  her  h.-art, 

Cleopatra's  /;/<//, ',\/r, 
Atalanta  's  better  part, 

Sad  Liid'ctia'  s  modesty. 
Thus  Rosalind  of  manv  part?. 

fly  heavenly  synod  was  dcris'd,  i.;(. 

Of  many  faces,  eyes,  and  heart:. , 

To  have  the  touclies  ilcarcst  prizd. 
IL-aven  would  that  she  these  gifts  should  have, 
And  J  to  live  and  die  her  slave. 

Rosalind.  O  most  penile  Jupiter!  what  ttjdiou.s  liomilv  of 
Invc  have  you  wearied  your  parishioners  withal,  and  never 
cried,  '  Have  patience,  i;ood  pe<jple!' 


7 2  AS   YOU  LIKE  IT. 

Cclia.  How  now!  back,  friends!  —  Shepherd,  go  off  a  little. 
—Go  with  him,  sirrah. 

Touchstone.  Come,  shepherd,  let  us  make  an  honourable 
retreat;  though  not  with_bag  and  baggage,  vet  with  scrip 
and  scrippage.  {Exeunt  Corin  ami  Touchstone. 

Ccl>a.   Didst  thou  hear  these  verses?  153 

Rosalind.  O,  yes,  I  heard  them  all,  and  more  too  ;  for 
some  of  them  had  in  them  more  feet  than  the  verses  would 
bear. 

Cclia.  That  's  no  matter  :   the  feet  might  bear  the  verses. 

Rosalind.  Ay,  but  the  feet  were  lame  and  could  not  bear 
themselves  without  the  verse,  and  therefore  stood  lamely  in 
the  verse.  i(>o 

Celia.  But  didst  thou  hear  without  wondering  how  thy 
name  should  be  hanged  and  carved  upon  these  trees? 

Rosalind.  I  was  seven  of  the  nine  days  out  of  the  wonder 
before  you  came  ;  for  look  here  what  I  found  on  a  palm- 
tree.  I  was  never  so  be-rhymed  since  Pythagoras'  time, 
that  I  was  an  Irish  rat,  which  I  can  hardly  remember. 

Cclia.  Trow  you  who  hath  done  this? 

Rosalind.   Is  it  a  man  ? 

Cclia.  And  a  chain,  that  you  once  wore,  about  his  neck  ? 
Change  you  colour?  i-o 

Rosalind.   I  prithee,  who? 

Cclia.  ()  Lord,  Lord!  It  is  a  hard  matter  for  friends  to 
meet  :  but  mountains  may  be  removed  with  earthquakes 
and  so  encounter. 

Rosalind.    Xay,  but  who  is  it  ? 

Cclia.    Is  it  possible  ? 

Rosalind.  Xay,  I  prithee  now  with  most  petitionary  vehe- 
mence, tell  me  who  it  is. 

Cclia.  <)  wonderful,  wonderful,  and  most  wonderful  won- 
derful! and  yet  again  wonderful,  and  after  that,  out  ot  all 
whooping!  IM 

Rosalind.   (luod  my  complexion!    dost  thou  think,  (hough 


ACT  ///.     SCENE  II. 


73 


I  am  caparisoned  like  a  man,  I  have  a  doublet  and  hose  in 
my  disposition?  One  inch  of  delay  more  is  a  South  Sea  of 
discovery.  I  prithee,  tell  me  who  is  it  quickly,  and  speak 
apace.  I  would  thou  couldst  stammer,  that  thoti  mightst 
pour  this  concealed  man  out  of  thy  mouth,  as  wine  comes 
out  of  a  narrow-mouthed  bottle,  cither  too  much  at  once,  or 
none  at  all.  j_  prithee,  take  the  cork  out  ot  thv_mmithjjt_hat_ 
I  may  drink  thv  tidings."  Is  he  of  God's  making?  What 

/  r  ^»  o 

manner  of  man  ?     Is  his  head  worth  a  hat,  or  his  chin  worth 
a  beard  ?  192 

Cclia.   Nay,  he  hath  but  a  little  beard. 

Rosalind.  Why,  God  will  send  more,  if  the  man  will  be 
thankful  :  let  me  stay  the  growth  of  his  beard,  if  thou  delay 
me  not  the  knowledge  of  his  chin. 

Cclia.  It  is  young  Orlando,  that  tripped  up  the  wrestler's 
heels  and  your  heart  both  in  an  instant. 

Rosalind.  Nay,  but  the  devil  take  mocking !  speak  sad 
brow  and  true  maid. 

Cclia.   I'  faith,  cox,  't  is  he. 
Rosalind.   Orlando  ? 
Cclia.   Orlando. 

Rosalind.  Alas  the  day  !  what  shall  I  do  with  my  doublet 
and  hose?-  What  did  he  when  thou  sawest  him?  What 
said  he?  How  looked  he?  Wherein  went  he?  What 
makes  he  here?  Did  he  ask  for  me?  Where  remains  he? 
How  parted  he  with  thee  ?  and  when  shalt  thou  see  him 
again  ?  Answer  me  in  one  word. 

Cclia.  You  must  borrow  me  (largantua's  mouth  first  :  't  is 
a  word  too  great  for  any  mouth  of  this  age's  si/e.  To  say 
ay  and  no  to  these  particulars  is  more  than  to  answer  in  a 
catechism.  .-M 

Kotalind.    But  doth  he  know 
in  man's   apparel  ?      Looks  he   , 
he  wrestled  ? 

Cclia.    It   is   as    easy   to   count   atomies    as    to    resolve   tin 


74  AS    YOU  LIKE  IT. 

propositions  of  a  lover;  but  take  a  taste  of  my  finding  him. 
and  relish  it  with  good  observance.  I  found  him  under  a 
tree,  like  a  dropped  acorn.  220 

Rosalind.  It  may  well  be  called  Jove's  tree,  when  it 
drops  forth  such  fruit. 

Cclia.  Give  me  audience,  good  madam. 

Rosalind.   Proceed. 

Celia.  There  lay  he,  stretched  along,  like  a  wounded 
knight. 

Rosalind.  Though  it  be  pity  to  see  such  a  sight,  it  well 
becomes  the  ground. 

Cclia.  Cry  'holla'  to  thy  tongue,  I  prithee;  it  curvets 
unseasonably.  He  was  furnished  like  a  hunter.  230 

Rosalind.  O,  ominous  !  he  comes  to  kill  my  heart. 

Celia.  I  would  sing  my  song  without  a  burden  :  thou 
bringest  me  out  of  tune. 

Rosalind.  Do  you  not  know  I  am  a  woman  ?  when  I 
think,  I  must  speak.  Sweet,  say  on. 

Cclia.  You  bring  me  out. — Soft !  conies  he  not  here  ? 

Enter  ORI.AXDO  and  JAQUES. 

Rosalind.   'T  is  he  :  slink  by,  and  note  him. 

Jaqucs.  I  thank  you  for  your  company  ;  but,  good  faith, 
I  had  as  lief  have  been  myself  alone. 

Orlando.  And  so  had  I  ;  but  yet,  for  fashion  sake,  I  thank 
you  too  for  your  society.  241 

^lU/ites.  (iod  be  wi'  you  :   let  's  meet  as  little  as  we  can. 

Orlando.   1  do  desire  we_may_be ^better  strangers, 

Jaques.  I~pray~you,  mar  no  more  trees  with  writing  love- 
songs  in  their  barks. 

Orlando.  I  pray  you,  mar  no  moe  of  my  verses  with  read- 
ing them  ill-favouredly. 

Jaques.    Rosalind  is  your  love's  name? 

Orlando.    Yes,  just. 

'Jaqucs.    1  do  not  like  her  name.  250 


ACT  III.     SCENE   //. 


75 


Orlando.  There  was  no  thought  of  pleasing  you  when  she 
was  christened. 

Jaques.  What  stature  is  she  of? 

Orlando.  Just  as  high  as  my  heart. 

Jaques.  You^are  full  of  pretty  answers.  Have  you  not 
been  acquainted  with  goldsmiths'  wives,  and  conned  them 
out  of  rings  ? 

Orlando.  Not  so  ;  but  I  answer  you  right  painted  cloth, 
from  whence  you  have  studied  your  questions.  25, 

Jaqites.  You  have  a  nimble  wit  :  1  think  't  was  made  of 
Atalanta's  heels.  Will  you  sit  clown  with  me?  and  we  two 
will  rail  against  our  mistress  the  world  and  all  our  misery. 

Orlando.  I  will  chicle  no  breather  in  the  world  but  my- 
self, against  whom  I  know  most  faults. 

'Jaques.  The  worst  fault  you  have  is  to  be  in  love. 

Orlando.  'T  is  a  fault  I  will  not  change  for  your  best 
virtue.  I  am  weary  of  you. 

Jaques.  By  my  troth,  I  was  seeking  for  a  fool  when  I 
found  you. 

Orlando.  He  is  drowned  in  the  brook  ;  look  but  in,  and 
you  shall  see  him.  271 

Jaqucs.  There  I  shall  see  mine  own  figure. 

Orlando.  Which  I  take  to  be  either  a  fool  or  a  cipher. 

Jaqucs.  1  '11  tarry  no  longer  with  you  :  farewell,  good  Sig- 
nior  Love. 

Orlando.  I  am  glad  of  your  departure:  adieu,  good  Mon- 
sieur Melancholy.  [ /-'.v//  j^aqncs. 

Rosalind.  [Aside  to  Cclia~\  I  will  speak  to  him  like  a  saury 
lackey,  and  under  that  habit  play  the  knave  with  him.  —  Do 
you  hear,  forester  ?  2*0 

Orlando.   Very  well  :   what  would  you  ? 

Rosalind.    I  pray  you,  what  is  't  o'  clock  ? 

Orlando.  You  should  ask  me  wh.it  lime  o'  day  ;  there  's 
no  clock  in  the  forest. 

Rosalind.  Then  there   is  no  true  lover  in   the  forest  ;  else 


76  JS   YOU  LIKE  IT. 

sighing  every  minute  and  groaning  every  hour  would  detect 
the  lazy  foot  of  Time  as  well  as-a  clock. 

Orlando.  And  why  not  the  swift  foot  of  Time?  had  not 
that  been  as  proper  ?  289 

Rosalind.  By  no  means,  sir :  Time  travels  in  divers  paces 
with  clivers  persons.  J  '11  tell  you  who  Time  ambles  withal, 
who  Time  trots  withal,  who  Time  gallops  withal,  and  who  he 
stands  still  withal. 

Orlando.  I  prithee,  who  doth  he  trot  withal  ? 

Rosalind.  Marry,  he  trots  hard  with  a  young  maid  between 
the  contract  of  her  marriage  and  the  day  it  is  solemnized  : 
if  the  interim  be  but  a  se'nnight,  Time's  pace  is  so  hard  that 
it  seems  the  length  of  seven  year. 

Orlando.  Who  ambles  Time  withal  ?  299 

Rosalind.  With  a  priest  that  lacks  Latin,  and  a  rich  man 
that  hath  not  the  gout ;  for  the  one  sleeps  easily  because  he 
cannot  study,  and  the  other  lives  merrily  because  he  feels  no 
pain;  the  one  lacking  the  burden  of  lean  and  wasteful  learn- 
ing, the  other  knowing  no  burden  of  heavy  tedious  penury  : 
these  Time  ambles  withal. 

Orlando.  Who  doth  he  gallop  withal  ? 

Rosalind.  With  a  thief  to  the  gallows  ;  for  though  he  go 
as  softly  as  foot  can  fall,  he  thinks  himself  too  soon  there. 

Orlando.  Who  stays  it  still  withal?  309 

Rosalind.  With  lawyers  in  the  vacation  ;  for  they  sleep 
between  term  and  term,  and  then  they  perceive  not  how 
Time  moves. 

Orlando.  Where  dwell  you,  pretty  youth  ? 

Rosalind.  With  this  shepherdess,  my  sister  ;  here  in  the 
skirts  of  the  forest,  like  fringe  upon  a  petticoat. 

Orlando.   Are  you  native  of  this  place  ? 

I\osalind.  As  the  cony  that  you  see  dwell  where  she  is 
kindled. 

Orlando.  Your  accent  is  something  finer  than  you  could 
purchase  in  so  removed  a  dwelling.  320 


ACT  III.     SCENE  II. 


77 


Rosalind.  I  have  been  told  so  of  many:  but  indeed  an  old 
religious  uncle  of  mine  taught  me  to  speak,  who  was  in  his 
youth  an  inland  man  ;  one  that  knew  courtship  too  well,  for 
there  he  fell  in  love.  I  have  heard  him  read  many  lectures 
against  it,  and  I  thank  God  I  am  not  a  woman,  to  be 
touched  with  so  many  giddy  offences  as  he  hath  gener- 
ally taxed  their  whole  sex  withal. 

Orlando.  Can  you  remember  any  of  the  principal  evils 
that  he  laid  to  the  charge  of  women  ?  3*9 

Rosalind.  There  were  none  principal  ;  they  were  all  like 
one  another  as  half- pence  are,  every  one  fault  seeming 
monstrous  till  his  fellow-fault  came  to  match  it. 

Orlando.   I  prithee,  recount  some  of  them. 

Rosalind.  No,  I  will  not  cast  away  my  physic  but  on 
those  that  are  sick.  There  is  a  man  hnuius  the  forest,  that 
abuses  our  young  plants  with  carving  Rosalind  on  their 
barks;  hangs  odes  upon  hawthorns  and  elegies  on  brambles, 
all,  forsooth,  deifying  the  name  of  Rosalind  :  if  I  could  meet 
that  fancy-monger,  I  would  give  him  some  good  counsel,  for 
he  seems  to  have  the  quotidian  of  love  upon  him.  340 

Orlando.  I  am  he  that  is  so  love-shaked  ;  I  pray  you,  tell 
me  your  remedy. 

Rosalind.  There  is  none  of  my  uncle's  marks  upon  you: 
he  taught  me  how  to  know  a  man  in  love  ;  in  which  cage 
of  rushes  I  am  sure  you  are  not  prisoner. 

Orlando.  What  were  his  marks  ? 

Rosalind.  A  lean  cheek,  which  you  have  not  ;  a  blue  eye 
and  sunken,  which  you  have  not  :  an  unquestionable  spirit, 
which  you  have  not  ;  a  beard  neglected,  which  you  h.ive 
not  ;  but  I  pardon  you  for  that,  for  simply  your  having  in 
beard  is  a  younger  brother's  revenue  :  then  your  hose 
should  be  ungartered,  your  bonnet  unbanded,  your  sleeve 
unbuttoned,  your  shoe  untied,  and  every  thing  about  you 
demonstrating  a  careless  desolation.  Hut  you  are  no  such 
man  ;  you  are  rather  point-device  in  your  accoutrements,  as 
loving  yourself  than  seeming  the  lover  of  anv  other. 


7 8  AS   YOU  LIKE  IT. 

Orlando.  Fair  youth,  I  would  I  could  make  thee  believe  I 
love. 

Rosalind.  Me  believe  it  !  you  may  as  soon  make  her  that 
you  love  believe  it ;  which,  I  warrant,  she  is  apter  to  do  than 
to  confess  she  does  :  that  is  one  of  the  points  in  the  which 
women  still  giye_the_lie  _to  their  consciences.  But,  in  good 
sooth,  are  you  he  that  hangs  the  verses  on  the  trees,  wherein 
Rosalind  is  so  admired  ?  J<M 

Orlando.  I  swear  to  thee,  youth,  by  the  white  hand  of 
Rosalind,  I  am  that  he,  that  unfortunate  he. 

Rosalind.  But  are  you  so  much  in  love  as  your  rhymes 
speak  ? 

Orlando.  Neither  rhyme  nor  reason  can  express  how 
much.  370 

Rosalind.  Love  is  merely  a  madness,  and,  I  tell  you,  de- 
serves as  well  a  dark  house  and  a  whip  as  madmen  do  ;  and 
the  reason  why  they  are  not  so  punished  and  cured  is,  that 
the  lunacy  is  so  ordinary  that  the  whippers  are  in  love  too. 
Vet  I  profess  curing  it  by  counsel.  375 

Orlando.  Did  you  ever  cure  any  so  ? 

Rosalind.  Yes,  one,  and  in  this  manner.  He  was  to  im- 
agine me  his  love,  his  mistress  ;  and  I  set  him  every  day  to 
woo  me  :  at  which  time  would  I,  being  but  a  moonish  youth, 
grieve,  be  effeminate,  changeable,  longing  and  liking,  proud, 
fantastical,  apish,  shallow,  inconstant,  full  of  tears,  full  of 
smiles,  for  every  passion  something  and  for  no  passion  truly 
any  thing,  as  boys  and  women  are  for  the  most  part  cattle 
of  this  colour  ;  would  now  like  him,  now  loathe  him  ;  then 
entertain  him,  then  forswear  him  ;  now  weep  for  him,  then 
spit  at  him  ;  that  I  drave  my  suitor  from  his  mad  humour 
of  love  to  a  living  humour  of  madness  ;  which  was,  to  for- 
swear the  fu'l  stream  of  the  world,  and  to  live  in  a  nook 
merely  monastic.  And  thus  I  cured  him  ;  and  this  way 
will  I  take  upon  me  to  wash  your  liver  as  clean  as  a  sound 
sheep's  heart,  that  there  shall  not  be  one  spot  of  love  in  't. 


ACT  Iff.     SCEA'E   III.  ,9 

Orlando.   I  would  not  be  cured,  youth.  392 

Rosalind.  I   would   cure   you,  if  you   would   but   call   me 

Rosalind  and  come  every  day  to  my  cote  and  woo  me. 
Orlando.  Now,  by  the  faith  of  my  love,  I  will  ;   tell  me 

where  it  is. 

Rosalind.  Go  with  me  to  it  and  I  '11  show  it  you  ;  and  by 

the  way  you  shall  tell  me  where  in  the  forest  you  live.     Will 

you  go  ? 

Orlando.  With  all  my  heart,  good  youth.  4oo 

Rosalind.  Nay,  you  must  call  me  Rosalind. — Come,  sister, 

will  you  go?  \Exciint. 

SCENE  III.     The  Forest. 
Enter  TOUCHSTONE  and  AUDREY  ;  JAQUES  behind. 

Touchstone.  Come  apace,  good  Audrey:  I  will  fetch  up 
your  goats,  Audrey.  And  how,  Audrey  ?  am  I  the  man 
yet?  cloth  my  simple  feature  content  you? 

Audrey.  Your  features  !    Lord  warrant  us  !  what  features '{ 

Touchstone.  I  am  here  with  thee  and  thy  goats,  as  the 
most  capricious  poet,  honest  Ovid,  was  among  the  Goths. 

yaques.  [ASI//I-]  ()  knowledge  ill  -  inhabited,  worse  than 
Jove  in  a  thatched  house  !  s 

Touchstone.  When  a  man's  verses  cannot  be  understood, 
nor  a  man's  good  wit  seconded  with  the  forward  child 
Understanding,  it  strikes  a  man  more  dead  than  a  great 
reckoning  in  a  little  room.  Truly,  I  would  the  gods  had 
made  thee  poetical. 

Audrey.  I  do  not  know  what  poetical  is  :  is  it  honest  in 
deed  and  word  ?  is  it  a  true  thing  ? 

Touchstone.  No,  truly  ;  for  the  truest  poetry  is  the  most 
feigning  ;  and  lovers  are  given  to  poetry,  and  what  they 
swear  in  poetry  may  be  said  as  lovers  they  do  feign. 

Audrey.  Do  you  wish  then  that  the  gods  had  made  me 
poetical  ?  2U 


80  AS  YOU  LIKE  IT. 

Touchstone.  I  do,  truly ;  for  thou  swear'st  to  me  thou  art 
honest :  now,  if  thou  wert  a  poet,  I  might  have  some  hope 
thou  didst  feign. 

Audrey.  Would  you  not  have  me  honest  ? 

Touchstone.  No,  truly,  unless  thou  wert  hard  -  favoured  ; 
for  honesty  coupled  to  beauty  is  to  have  honey  a  sauce  to 
sugar. 

jfctques.  \Asidc\  A  material  fool ! 

Audrey.  Well,  I  am  not  fair  ;  and  therefore  I  pray  the 
gods  make  me  honest !  3° 

Touchstone.  Truly,  and  to  cast  away  honesty  upon  a  foul 
slut  were  to  put  good  meat  into  an  unclean  dish. 

Audrey.  I  am  not  a  slut,  though  I  thank  the  gods  I  am 
foul. 

Touchstone.  Well,  praised  be  the  gods  for  thy  foulness  ! 
sluttishness  may  come  hereafter.  But  be  it  as  it  may  be, 
I  will  marry  thee,  and  to  that  end  I  have  been  with  Sir 
Oliver  Martext,  the  vicar  of  the  next  village,  who  hath 
promised  to  meet  me  in  this  place  of  the  forest  and  to 
couple  us.  40 

JaqiiL's.   [Aside]  I  would  fain  see  this  meeting. 

Audrey.   Well,  the  gods  give  us  joy  ! 

Touchstone.  Amen  !  A  man  may,  if  he  were  of  a  fearful 
heart,  stagger  in  this  attempt;  for  here  we  have  no  temple 
but  the  wood,  no  assembly  but  horn-beasts.  But  what 
though  ?  Courage  !  As  horns  are  odious,  they  are  neces- 
sary. It  is  said,  'many  a  man  knows  no  end  of  his  goods  :' 
right  !  many  a  man  lias  good  horns,  and  knows  no  end  of 
them.  Well,  that  is  the  dowry  of  his  wife  ;  't  is  none  of  his 
own  getting.  Are  horns  given  to  poor  men  alone?  No, 
no;  the  noblest  deer  hath  them  as  huge  as  the  rascal.  Is 
the  single  man  therefore  blessed?  No:  as  a  walled  town 
is  more  worthier  than  a  village,  so  is  the  forehead  of  a  mar- 
ried man  more  honourable  than  the  bare  brow  of  a  bach- 
elor ;  and  by  how  much  defence  is  better  than  no  skill,  by 


ACT  II L     SCENE   III.  8r 

so   much   is   a   horn    more  precious   than   to  want.     Here 
comes  Sir  Oliver. —  57 

Enter  SIR  OLIVER  MARTEXT. 

Sir  Oliver  Martext,  you  are  well  met :  will  you  dispatch  us 
here  under  this  tree,  or  shall  we  go  with  you  to  your  chapel  ? 

Sir  Oliver.  Is  there  none  here  to  give  the  woman  ?  60 

Touchstone.  I  will  not  take  her  on  gift  of  any  man. 

Sir  Oliver.  Truly,  she  must  be  given,  or  the  marriage  is 
not  lawful. 

Jaqucs.  \Advandng\  Proceed,  proceed  :  I  '11  give  her. 

Touchstone.  Good,  even,  good  Master  What-ye-call-'t :  how 
do  you,  sir?  You  are  very  well  met :  God  'ield  you  for  your 
last  company  :  I  am  very  glad  to  see  you  : — even  a  toy  in 
hand  here,  sir: — nay,  pray  be  covered. 

jfaques.  Will  you  be  married,  motley  ? 

Touchstone.  As  the  ox  hath  his  bo\v,  sir,  the  horse  his 
curb,  and  the  falcon  her  bells,  so  man  hath  his  desires  ;  and 
as  pigeons  bill,  so  wedlock  would  be  nibbling.  72 

Jaques.  And  will  you,  being  a  man  of  your  breeding,  be 
married  under  a  bush  like  a  beggar?  Get  you  to  church, 
and  have  a  good  priest  that  can  tell  you  what  marriage  is: 
this  fellow  will  but  join  you  together  as  they  join  wainscot  ; 
then  one  of  you  will  prove  a  shrunk  panel  and,  like  green 
timber,  warp,  warp. 

Touchstone.  \Aside\  I  am  not  in  the  mind  but  I  were  bet- 
ter to  be  married  of  him  than  of  another  :  for  he  is  not  like 
to  marry  me  well  ;  and  not  being  well  married,  it  will  be  a 
good  excuse  for  me  hereafter  to  leave  my  wife. 

Jaqucs.  Go  thou  with  me,  and  let  me  counsel  thee. 

Touchstone.    Come,  sweet  Audrey. — 
Farewell,  good  Master  Oliver :   not— 
'  O  sweet  Oliver, 
O  brave  Oliver, 
Leave  >fie  not  behind  //iu' :' 


82  AS  YOU  LIKE  IT. 

but ,    rrr.         , 

'  Wind  away,  90 

Begone,  I  say, 
I  will  not  to  wedding  with  t/iee.' 

[Exeunt  Jaques,  Touchstone,  and  Audrey. 

Sir  Oliver.  'T  is  no  matter :   ne'er  a  fantastical  knave  of 

them  all  shall  flout  me  out  of  my  calling.  \Exit. 

SCENE  IV.     The  Forest.     Before  a  Cottage. 
Enter  ROSALIND  and  CELIA. 

Rosalind.   Never  talk  to  me  ;  I  will  weep. 

Celia.  Do,  I  prithee  ;  but  yet  have  the  grace  to  consider 
that  tears  do  not  become  a  man. 

Rosalind.  But  have  I  not  cause  to  weep  ? 

Celia.  As  good  cause  as  one  would  desire  ;  therefore 
weep. 

Rosalind.   His  very  hair  is  of  the  dissembling  colour. 

Celia.  Something  browner  than  Judas's  :  marry,  his  kisses 
are  Judas's  own  children. 

Rosalind.   I'  faith,  his  hair  is  of  a  good  colour.  10 

Celia.  An  excellent  colour:  your  chestnut  was  ever  the 
only  colour. 

Rosalind.  And  his  kissing  is  as  full  of  sanctity  as  the 
touch  of  holy  bread. 

Celia.  He  hath  bought  a  pair  of  cast  lips  of  Diana:  a 
nun  of  winter's  sisterhood  kisses  not  more  religiously  ;  the 
very  ice  of  chastity  is  in  them. 

Rosalind.  But  why  did  he  swear  he  would  come  this  morn- 
ing, and  comes  not  ? 

Celia.   Nay,  certainly,  there  is  no  truth  in  him.  20 

Rosalind.    Do  you  think  so? 

Celia.  Yes  :  I  think  he  is  not  a  pick-purse  nor  a  horse- 
stcaler ;  but  for  his  verity  in  love,  I  do  think  him  as  con- 
cave as  a  covered  <roblet  or  a  worm-eaten  nut. 


ACT  III.     SCENE  IV.  83 

Rosalind.  Not  true  in  love  ? 

Celia.  Yes,  when  he  is  in  ;  but  I  think  he  is  not  in. 

Rosalind.  You  have  heard  him  swear  downright  he  was. 

Celia.  Was  is  not  is  :  besides,  the  oath  of  a  lover  is  no 
stronger  than  the  word  of  a  tapster ;  they  are  both  the  con- 
firmer  of  false  reckonings.  He  attends  here  in  the  forest 
on  the  duke  your  father.  31 

Rosalind.  I  met  the  duke  yesterday  and  had  much  ques- 
tion with  him.  He  asked  me  of  what  parentage  I  was:  I 
told  him,  of  as  good  as  he  ;  so  he  laughed  and  let  me  go. 
But  what  talk  we  of  fathers,  when  there  is  such  a  man  as 
Orlando  ? 

Celia.  O,  that  's  a  brave  man  !  he  writes  brave  verses, 
speaks  brave  words,  swears  brave  oaths,  and  breaks  them 
bravely,  quite  traverse,  athwart  the  heart  of  his  lover  ;  as  a 
puisny  tilter,  that  spurs  his  horse  but  on  one  side,  breaks 
his  staff  like  a  noble  goose.  But  all  's  brave  that  youth 
mounts  and  folly  guides. — Who  comes  here  ?  42 

Enter  COR i\. 

Conn.  Mistress  and  master,  you  have  oft  inquir'd 
After  the  shepherd  that  complain'd  of  love, 
Who  you  saw  sitting  by  me  on  the  turf, 
Praising  the  proud  disdainful  shepherdess 
That  was  his  mistress. 

Celia.  Well,  and  what  of  him? 

Conn.   If  you  will  see  a  pageant  truly  play'd, 
Between  the  pale  complexion  of  true  love 
And  the  red  glow  of  scorn  and  proud  disdain,  so 

Go  hence  a  little  and  I  shall  conduct  you, 
If  you  will  mark  it. 

Rosalind.  O,  come,  let  us  remove  : 

The  sight  of  lovers  feedeth  those  in  lo<-e. — 
Bring  us  to  see  this  sight,  and  you  shall  say 
1  '11  prove  a  busy  actor  in  their  play.  \_fixcunt. 


84  AS  YOU  LIKE  IT. 

SCENE  V.     Another  Part  of  the  Forest, 
Enter  SILVIUS  and  PHEBE. 

Silvius.  Sweet  Phebe,  do  not  scorn  me  ;  do  not,  Phebe 
Say  that  you  love  me  not,  but  say  not  so 
In  bitterness.     The  common  executioner, 
Whose  heart  the  accustom'd  sight  of  death  makes  hard, 
Falls  not  the  axe  upon  the  humbled  neck 
But  first  begs  pardon  :  will  you  sterner  be 
Than  he  that  dies  and  lives  by  bloody  drops? 

Enter  ROSALIND,  CELIA,  and  CORIN,  behind. 

Phebe.  I  would  not  be  thy  executioner; 
I  fly  thee,  for  I  would  not  injure  thee. 
Thou  tell'st  me  there  is  murther  in  mine  eye: 
'T  is  pretty,  sure,  and  very  probable, 
That  eyes,  that  are  the  frail'st  and  softest  things, 
Who  shut  their  coward  gates  on  atomies, 
Should  be  call'd  tyrants,  butchers,  murtherers  ! 
Now  I  do  frown  on  thee  with  all  my  heart  ; 
And  if  mine  eyes  can  wound,  now  let  them  kill  thee*J 
Now  counterfeit  to  swoon;  why,  now  fall  down; 
Or  if  thou  canst  not,  O,  for  shame,  for  shame, 
Lie  not,  to  say  mine  eyes  are  murtherers  ! 
Now  show  the  wound  mine  eye  hath  made  in  thee  : 
Scratch  thee  but  with  a  pin,  and  there  remains 
Some  scar  of  it  ;  lean  but  upon  a  rush, 
The  cicatrice  and  capable  impressure 
Thy  palm  some  moment  keeps  ;  but  now  mine  eyes, 
Which  I  have  darted  at  thee,  hurt  thee  not, 
Nor,  I  am  sure,  there  is  no  force  in  eyes 
That  can  do  hurt. 

Sih'ins.  O  dear  Phebe, 

If  ever — as  that  ever  may  be  near — 


ACT  III.     SCENE    V.  85 

You  meet  in  some  fresh  cheek  the  power  of  fancy, 

Then  shall  you  know  the  wounds  invisible  30 

That  love's  keen  arrows  make. 

Phebe.  But  till  that  time 

Come  not  thou  near  me :  and  when  that  time  comes, 
Afflict  me  with  thy  mocks,  pity  me  not ; 
As  till  that  time  I  shall  not  pity  thee. 

Rosalind.  \Advanting\  And  why,  I  pray  you  ?     Who  might 

be  your  mother, 

That  you  insult,  exult,  and  all  at  once, 
Over  the  wretched  ?     What  though  you  have  no  beauty, — 
As,  by  my  faith,  I  see  no  mere  in  you 
Than  without  candle  may  go  dark  to  bed, — 
Must  you  be  therefore  proud  and  pitiless  ?  4o 

Why,  what  means  this.1*     Why  do  you  look  on  me? 
I  see  no  more  in  you  than  in  the  ordinary 
Of  nature's  sale-work. — 'Ocl  's  my  little  life, 
1  think  she  means  to  tangle  my  eyes  too  ! — 
No,  faith,  proud  mistress,  hope  not  after  it : 
'T  is  not  your  inky  brows,  your  black  silk  hair, 
Your  bugle  eyeballs,  nor  your  cheek  of  cream, 
That  can  entame  my  spirits  to  your  worship. — 
You  foolish  shepherd,  wherefore  do  you  follow  her, 
Like  foggy  south  puffing  with  wind  and  rain? 
You  are  a  thousand  times  a  properer  man 
Than  she  a  woman  :  't  is  such  fools  as  you 
That  makes  the  world  full  of  ill-favour'd  children  : 
'T  is  not  her  glass,  but  you,  that  flatters  her  ; 
And  out  of  you  she  sees  herself  more  proper 
Than  any  of  her  lineaments  can  show  her. — 
But,  mistress,  know  yourself;  clown  on  your  knees, 
And  thank  heaven,  fasting,  for  a  good  man's  love  : 
For  I  must  tell  you  friendly  in  your  ear, 

Sell  when  you  can  ;  you  are  not  for  all  markets  :  6c 

Cry  the  man  mercy  ;  love  him  ;  take  his  offer : 


86  AS   YOU  LIKE  IT. 

Foul  is  most  foul,  being  foul  to  be  a  scoffer.— 
So  take  her  to  thee,  shepherd  :  fare  you  well. 

Phebe.   Sweet  youth,  I  pray  you,  chicle  a  year  together; 
I  had  rather  hear  you  chicle  than  this  man  woo. 

Rosalind.  He  's  fallen  in  love  with  your  foulness,  and 
she  '11  fall  in  love  with  my  anger. — If  it  be  so,  as  fast  as 
she  answers  thee  with  frowning  looks,  I  '11  sauce  her  with 
bitter  words. — Why  look  you  so  upon  me? 

Phebe.   For  no  ill  will  I  bear  you.  7° 

Rosalind.   I  pray  you,  do  not  fall  in  love  with  me, 
For  I  am  falser  than  vows  made  in  wine  : 
Besides,  I  like  you  not. — If  you  will  know  my  house, 
'T  is  at  the  tuft  of  olives  here  hard  by. — 
Will  you  go,  sister? — Shepherd,  ply  her  hard. — 
Come,  sister. — Shepherdess,  look  on  him  better, 
And  be  not  proud  ;  though  all  the  world  could  see, 
None  could  be  so  abus'd  in  sight  as  he. — 
Come,  to  our  flock.  [Exeunt  Rosalind,  Cclia,  and  Corin. 

Phebc.  Dead  shepherd,  now  1  find  thy  saw  of  might,  So 
'Who  ever  lov'd  that  lov'd  not  at  first  sight?' 

Silrius.   Sweet  Phebe, — 

Phebe.  Ha,  what  say'st  thou,  Silvius  ? 

Silvius.   Sweet  Phebe,  pity  me. 

Phebe.  Why,  I  am  sorry  for  thee,  gentle  Silvius. 

Sih'iiis.   Wherever  sorrow  is,  relief  would  be  : 
If  you  do  sorrow  at  my  grief  in  love, 
By  giving  love  your  sorrow  and  my  grief 
Were  both  extermin'd. 

J'hcbc.  Thou  hast  my  love  ;  is  not  that  neighbourly? 

Si/riits.    I  would  have  you. 

J'ficbc.  Why,  that  were  covetousness. 

Silvius,  the  time  was  that  I  hated  thee,  9, 

And  yet  it  is  not  that  I  bear  thee  love  ; 
But  since  that  thou  canst  talk  of  love  so  well. 
Thy  company,  which  erst  was  irksome  to  me, 


ACT  III.     SCENE    V.  87 

I  will  endure,  and  I  '11  employ  thee  too  : 

But  do  not  look  for  further  recompense 

Than  thine  own  gladness  that  thou  art  employ'd. 

Sih'itts.   So  holy  and  so  perfect  is  my  love, 
And  I  in  such  a  poverty  of  grace, 

That  I  shall  think  it  a  most  plenteous  crop  '<-" 

To  glean  the  broken  ears  after  the  man 
That  the  main  harvest  reaps  :  loose  now  and  then 
A  scatter'd  smile,  and  that  I  '11  live  upon. 

Phcbc.   Know'st  thou  the  youth  that  spoke  to  me  erewhile? 

Silrius.    Not  very  well,  but  1  have  met  him  oft  ; 
And  he  hath  bought  the  cottage  and  the  bounds 
That  the  old  carlot  once  was  master  of. 

Phcbc.  Think  not  I  love  him,  though  I  ask  for  him  ; 
'T  is  but  a  peevish  boy  ;  yet  he  talks  well  : 
But  what  care  I  for  words?  yet  words  do  well  IIO 

When  he  that  speaks  them  pleases  those  that  hear. 
It  is  a  pretty  youth — not  very  pretty  : 
But,  sure,  he  's  proud,  and  yet  his  pride  becomes  him. 
He  '11  make  a  proper  man  :   the  best  thing  in  him 
Is  his  complexion  ;  and  faster  than  his  tongue 
Did  make  offence  his  eye  did  heal  it  up. 
He  is  not  very  tall  ;  yet  for  his  years  he  's  tall : 
His  leg  is  but  so-so  ;  and  y:t  't  is  well : 
There  was  a  pretty  redness  in  his  lip, 

A  little  riper  and  more  lusty  red  I2o 

Than  that  mix'd  in  his  cheek  ;  't  was  just  the  difference 
Betwixt  the  constant  red  and  mingled  damask. 
There  be  some  women,  Silvius,  had  they  mark  d  him 
In  parcels  as  I  did,  would  have  gone  near 
To  fall  in  love  with  him  :  but,  for  my  part, 
I  love  him  not  nor  hate  him  not  ;  and  yet 
I  have  more  cause  to  hate  him  than  to  love  him  : 
For  what  had  he  to  do  to  chide  at  me? 
He  said  mine  eves  were  black  ami  mv  hair  black, 


88 


AS   YOU  LIKE  IT. 


And,  now  I  am  remember'd,  scorn'd  at  me.  130 

I  marvel  why  I  answer'cl  not  again: 

But  that 's  all  one  ;  omittance  is  no  quittance. 

I  '11  write  to  him  a  very  taunting  letter, 

And  thou  shall  bear  it :  wilt  thou,  Silvius? 

Silvius.  Phebe,  with  all  my  heart. 

Phcbe.  1  '11  write  it  straight ; 

The  matter  's  in  my  head  and  in  my  heart : 
I  will  be  bitter  with  him  and  passing  short. 
Go  with  me,  Silvius.  [Exeunt. 


ACT  IV. 

SCENE  I.      The  Forest. 
Enter  ROSALIND,  CKI.TA,  ami  JAQUES. 
7^/««.    I    prithee,   pretty    youth,  let    me    be    better    ac- 
quainted  with  thoe. 

Rosalind.  They  say  you  are  a  melancholy  fellow. 
Jaqucs.   I  am  so;   I  do  love  it  better  than  laughing. 


^0  AS   YOU  LIKE  IT. 

Rosalind.  Those  that  are  in  extremity  of  either  are  abom- 
inable fellows,  and  betray  themselves  to  every  modern  cen- 
sure worse  than  drunkards. 

Jaqucs.  Why,  't  is  good  to  be  sad  and  say  nothing. 

Rosalind.  Why  then,  't  is  good  to  be  a  post.  9 

Jaqucs.  I  have  neither  the  scholar's  melancholy,  which  is 
emulation  ;  nor  the  musician's,  which  is  fantastical ;  nor  the 
courtier's,  which  is  proud ;  nor  the  soldier's,  which  is  am- 
bitious ;  nor  the  lawyer's,  which  is  politic  ;  nor  the  lady's, 
which  is  nice  ;  nor  the  lover's,  which  is  all  these  :  but  it  is 
a  melancholy  of  mine  own,  compounded  of  many  simples, 
extracted  from  many  objects,  and  indeed  the  sundry  con- 
templation of  my  travels,  in  which  my  often  rumination 
wraps  me  in  a  most  humorous  sadness. 

Rosalind.  A  traveller !  By  my  faith,  you  have  great 
reason  to  be  sad.  I  fear  you  have  sold  your  own  lands  to 
see  other  men's;  then,  to  have  seen  much  and  to  have 
nothing,  is  to  have  rich  eyes  and  poor  hands.  22 

Jaqucs.  Yes,  I  have  gained  my  experience. 

Rosalind.  And  your  experience  makes  you  sad.  I  had 
rather  have  a  fool  to  make  me  merry  than  experience  to 
make  me  sad;  and  to  travel  for  it  too! 

Enter  ORLANDO. 

Orlando.  Good  day  and  happiness,  clear  Rosalind  ! 

Jaqucs.  Nay,  then  God  be  wi'  you,  an  you  talk  in  blank 
verse.  \_Exit. 

Rosalind.  Farewell,  Monsieur  Traveller:  look  you  lisp 
and  wear  strange  suits,  disable  all  the  benefits  of  your 
own  country,  be  out  of  love  with  your  nativity,  and  almost 
chide  God  for  making  you  that  countenance  you  are,  or  I 
will  scarce  think  you  have  swam  in  a  gondola. —  Why,  how 
now,  Orlando  !  where  have  you  been  all  this  while5  You 
a  lover!  An  you  serve  me  such  another  trick,  never  come 
in  mv  sight  more.  37 


ACT  IV.     SCENE  I.  91 

Orlando.  My  fair  Rosalind,  I  come  within  an  hour  of  my 
promise. 

Rosalind.  Break  an  hour's  promise  in  love!  He  that 
will  divide  a  minute  into  a  thousand  parts,  and  break  but 
a  part  of  the  thousandth  part  of  a  minute  in  the  affairs  of 
love,  it  may  be  said  of  him  that  Cupid  hath  clapped  him 
o'  the  shoulder,  but  I  '11  warrant  him  heart-whole.  44 

Orlando.  Pardon  me,  clear  Rosalind. 

Rosalind.  Nay,  an  you  be  so  tardy,  come  no  more  in  my 
sijrht ;  I  had  as  lief  be  wooed  of  a  snail. 

O  * 

Orlando.  Of  a  snail  ? 

Rosalind.  Ay,  of  a  snail  ;  for  though  he  comes  slowly,  he 
carries  his  house  on  his  head, — a  better  jointure,  I  think, 
than  you  can  make  a  woman  :  besides,  he  brings  his  destiny 
with  him.  52 

Orlando.  What  's  that  ? 

Rosalind.  Why,  horns,  which  such  as  you  are  fain  to  be 
beholding  to  your  wives  for;  but  he  comes  armed  in  his 
fortune  and  prevents  the  slander  of  his  wife. 

Orlando.  Virtue  is  no  horn  maker  ;  and  my  Rosalind  is 
virtuous. 

Rosalind.   And  I  am  your  Rosalind. 

Celia.  It  pleases  him  to  call  you  so  ;  but  he  hath  a  Rosa- 
lind of  a  better  leer  than  you.  61 

Rosalind.  Come,  woo  me,  woo  me,  for  now  I  am  in  a  holi- 
day humour  and  like  enough  to  consent.  What  would  you 
say  to  me  now,  an  I  were  your  very  very  Rosalind  ? 

Orlando.    I  would  kiss  before  I  spoke. 

Rosalind.  Nay,  you  were  better  speak  first,  and  when  you 
were  gravelled  for  lack  of  matter  you  might  take  occasion 
to  kiss.  Very  good  orators,  when  they  are  out,  they  will 
spit;  and  for  lovers  "lacking — (Joel  warn  us!— matter,  the 
cleanliest  shift  is  to  kiss.  ;u 

Orlando.   How  if  the  kiss  be  denied? 

Rosalind.  Then  she  puts  you  to  entreaty,  and  there  be- 
gins new  matter. 


02  AS    YOU  LIKE   IT. 

Orlando.  Who  could  be  out,  being  before  his  beloved 
mistress  ? 

Rosalind.  Marry,  that  should  you,  if  I  were  your  mistress, 
or  I  should  think  my  honesty  ranker  than  my  wit. 

Orlando.  What,  of  my  suit  ? 

Rosalind.  Not  out  of  your  apparel,  and  yet  out  of  your 
suit.  Am  not  I  your  Rosalind  ?  Sc, 

Orlando.  I  take  some  joy  to  say  you  are,  because  I  would 
be  talking  of  her. 

Rosalind.  Well,  in  her  person  I  say  I  will  not  have  you. 

Orlando.  Then  in  mine  own  person  I  die. 

Rosalind.  No,  faith,  die  by  attorney.  The  poor  world  is 
almost  six  thousand  years  old,  and  in  all  this  time  there  was 
not  any  man  died  in  his  own  person,  videlicet,  in  a  love- 
cause.  Troilus  had  his  brains  dashed  out  with  a  Grecian 
club  ;  yet  he  did  what  he  could  to  die  before,  and  he  is  one 
of  the  patterns  of  love.  Leander,  he  would  have  lived  many 
a  fair  year,  though  Hero  had  turned  nun,  if  it  had  not  been 
for  a  hot  midsummer  night:  for,  good  youth,  he  went  but 
forth  to  wash  him  in  the  Hellespont,  and  being  taken  with 
the  cramp  was  drowned;  and  the  foolish  chroniclers  of  that 
age  found  it  was — Hero  of  Sestos.  But  these  are  all  lies; 
jrnen__h.aY£,  djed  from  time  to  time,  and  worms  have  eaten 
them,  but  not  for  love._  97 

Orlando.  I  would  not  have  my  right  Rosalind  of  this 
mind,  for,  I  protest,  her  frown  might  kill  me. 

Rosalind.  By  this  hand,  it  will  not  kill  a  fly.  But  come, 
now  I  will  be  your  Rosalind  in  a  more  coming-on  disposi- 
tion, and  ask  me  what  you  will,  I  will  grant  it.  m2 

Orlando.   Then  love  me,  Rosalind. 

Rosalind.  Yes,  faith,  will  I,  Fridavs  and  Saturdays  and  all. 

Orlando.   And  wilt  thou  have  me? 

Rosalind.  Ay,  and  twenty  such. 

Orlando.  What  sayest  thou? 

Rosalind.   Are  vou  not  jrood  ? 


ACT  IV.     SCENE  /. 


93 


Orlando.   I  hope  so. 

Rosalind.  Why  then,  can  one  desire  too  much  of  a  good 
thing.? — Come,  sister,  yoiT  shall  be  the  priest  and  marry^is. 
— Give  me  your  hand,  Orlando. — What  do  you  say,  sister  ? 

Orlando.   Pray  thee,  marry  us.  ni 

Cclia.   I  cannot  say  the  words. 

Rosalind.  You  must  begin,  'Will  you,  Orlando — 

Cclia.  Go  to. — Will  you,  Orlando,  have  to  wife  this  Rosa- 
lind ? 

Orlando.   I  will. 

Rosalind.  Ay,  but  when  ? 

Orlando.  Why  now  ;  as  fast  as  she  can  marry  us.  120 

Rosalind.  Then  you  must  say  '  1  take  thee,  Rosalind,  for 
wife.' 

Orlando.   I  take  thee,  Rosalind,  for  wife. 

Rosalind.  I  might  ask  you  for  your  commission  ;  but  I  do 
take  thee,  Orlando,  for  my  husband.  There  's  a  girl  goes 
before  the  priest  ;  and  certainly  a  woman's  thought  runs 
before  her  actions. 

Orlando.   So  do  all  thoughts  ;  they  are  winged. 

Rosalind.  Now  tell  me  how  long  you  would  have  her  after 
you  have  possessed  her.  130 

Orlando.   For  ever  and  a  day. 

Rosalind.  Say  a  day,  without  the  ever.  No,  no,  Orlando: 
men  are  April  when  they  woo,  December  when  they  wed: 
maids  are  May  when  they  are  maids,  but  the  sky  changes 
when  they  are  wives.  I  will  be  more  jealous  of  thee  than  a 
Barbary  cock-pigeon  over  his  hen,  more  clamorous  than  a 
parrot  against  rain,  more  new-fangled  than  an  ape,  more 
giddy  in  my  desires  than  a  monkey.  I  will  weep  for  noth- 
ing, like  Diana  in  the  fountain,  and  I  will  do  that  when  you 
are  disposed  to  be  merry  ;  I  will  laugh  like  a  hyen,  and  that 
when  thou  art  inclined  to  sleep.  \\\ 

Orlando.    But  will  my  Rosalind  do  so? 

Rosalind.   Bv  niv  life,  she  \\ill  do  as  I  do. 


94 


VOLT  LIKE  IT. 


Orlando.  O,  but  she  is  wise. 

Rosalind.  Or  else  she  could  not  have  the  wit  to  do  this ; 
the  wiser,  the  waywarder.  Make  the  doors  upon  a  woman's 
wit,  and  it  will  out  at  the  casement  |  sTmt  that,  and  't  will 
out  at  the  key-hole  ;  stop  that,  't  will  fly  with  the  smoke  out 
at  the  chimney. 

Orlando.  A  man  that  had  a  wife  with  such  a  wit,  he  might 
>ay  '  V^ikjyhJihjj.jidlL?'  J5i 

Rosalind.  Nay,  you  might  keep  that  check  for  it  till  you 
met  your  wife's  wit  going  to  your  neighbour's  bed. 

Orlando.   And  what  wit  could  wit  have  to  excuse  that? 

Rosalind.  Marry,  to  say  she  came  to  seek  you  there. 
You  shall  never  take  her  without  her  answer,  unless  you 
take  her  without  her  tongue.  O,  that  woman  that  cannot 
make  her  fault  her  husband's  occasion,  let  her  never  nurse 
her  child  herself,  for  she  will  breed  it  like  a  fool ! 

Orlando.  For  these  two  hours,  Rosalind,  I  will  leave 
thee.  161 

Rosalind.  Alas  !   dear  love,  I  cannot  lack  thee  two  hours. 

Orlando.  I  must  attend  the  duke  at  dinner;  by  two 
o'clock  I  will  be  with  thee  again. 

Rosalind.  Ay,  go  your  ways,  go  your  ways  ;  I  knew  what 
you  would  prove :  my  friends  told  me  as  much,  and  I 
thought  no  less.  That  flattering  tongue  of  yours  won  me: 
't  is  but  one  cast  away,  and  so,  come,  death  ! — Two  o'clock 
is  your  hour  ? 

Orlando.   Ay,  sweet  Rosalind.  170 

Rosalind.  By  my  troth,  and  in  good  earnest,  and  so  God 
mend  me,  and  by  all  pretty  oaths  that  are  not  dangerous, 
if  you  break  one  jot  of  your  promise  or  come  one  minute 
behind  your  hour,  I  will  think  you  the  most  pathetical 
break -promise,  and  the  most  hollow  lover,  and  the  most 
unworthy  of  her  you  call  Rosalind,  that  may  be  chosen  out 
of  the  gross  band  of  the  unfaithful  :  therefore  beware  mv 
censure  and  keep  your  promise. 


ACT  IV.     SCENE   II. 


95 


Orlando.  With  no  less  religion  than  if  thou  went  indeed 
my  Rosalind  :  so  adieu.  180 

Rosalind.  Well,  Time  is  the  old  justice  that  examines  all 
such  offenders,  and  let  Time  try  :  adieu.  \Exit  Orlando. 

Celia.  You  have  simply  misused  our  sex  in  your  love- 
prate  :  we  must  have  your  doublet  and  hose  plucked  over 
your  head,  and  show  the  world  what  the  bird  hath  done  to 
her  own  nest. 

Rosalind.  O  coz,  coz,  coz,  my  pretty  little  coz,  that  thou 
didst  know  how  many  fathom  deep  I  am  in  love  !  But  it 
cannot  be  sounded  ;  my  affection  hath  an  unknown  bottom, 
like  the  bay  of  Portugal.  190 

Celia.  Or  rather,  bottomless,  that  as  fast  as  you  pour  af- 
fection in,  it  runs  out. 

Rosalind.  No,  that  same  wicked  bastard  of  Venus  that 
was  begot  of  thought,  conceived  of  spleen,  and  born  of 
madness,  that  blind  rascally  boy  that  abuses  every  one's 
eyes  because  his  own  are  out,  let  him  be  judge  how  deep 
I  am  in  love.  I  '11  tell  thee,  Aliena,  I  cannot  be  out  of 
the  sight  of  Orlando:  I  '11  go  find  a  shadow,  and  sigh  till 
he  come.  199 

Celia.  And  I  '11  sleep.  \Exeunt. 

SCENE  II.     The  Forest. 
Enter  JAQUES,  Lords,  and  Foresters. 

Jaqucs.  Which  is  he  that  killed  the  deer? 

A  Lord.   Sir,  it  was  I. 

Jaques.  Let  's  present  him  to  the  duke,  like  a  Roman 
conqueroi  ;  and  it  would  do  well  to  set  the  deer's  horns 
upon  his  head,  for  a  branch  of  victory.  Have  you  no  song, 
forester,  for  this  purpose  ? 

Forester.    \  es,  sir. 

Jaqucs.  Sing  it  ;  t  is  no  matter  how  it  bu  in  tune,  so  it 
make  noise  enough. 


96  <4S  YOU  LIKE  IT. 

Song. 

Forester.  What  shall  he  have  that  kill'd  the  deer  ?  IM 

His  leather  skin  and  horns  to  wear. 
Then  sing  him  home. 

[The  rest  shall  bear  this  burthen. 
Take  than  no  scorn  to  wear  the  horn  ; 
ft  was  a  crest  ere  thou  wast  born  : 

Thy  father 's  father  wore  if, 
And  thy  father  bore  it : 
The  horn,  the  horn,  the  lusty  horn 
Is  not  a  thing  to  laugh  to  scorn.  [Exeunt. 

SCENE  III.     The  Forest. 
Knter  ROSALIND  and  CELIA. 

Rosalind.  How  say  you  now?  Is  it  not  past  two  o'clock? 
and  here  much  Orlando  ! 

Celia.  I  warrant  you,  with  pure  love  and  troubled  brain, 
he  hath  ta'en  his  bow  and  arrows  and  is  gone  forth — to 
sleep.  Look,  who  comes  here. 

Enter  Si  I. vi us. 

Silvius.   My  errand  is  to  you,  fair  youth  ; 
My  gentle  Phebe  bid  me  give  you  this. 
I  know  not  the  contents  ;  but,  as  I  guess 
l}y  the  stern  brow  and  waspish  action 

Which  she  did  use  as  she  was  writing  of  it,  i" 

It  bears  an  angry  tenour.      Pardon  me, 
I  am  but  as  a  guiltless  messenger. 

Rosalind.    Patience  herself  would  startle  at  this  letter 
And  play  the  swaggerer  ;  bear  this,  bear  all  : 
She  says  I  am  not  fair,  that  I  lack  manners  ; 
She  calls  me  proud,  and  that  she  could  not  love  me, 
Were  man  as  rare  as  plnenix.     'Od's  my  will  .' 
Her  love  is  not  the  hair  that  I  do  hunt  : 


ACT  11'.     SCENE  ///. 


97 


Why  writes  she  so  to  me  ? — Well,  shepherd,  well. 
This  5s  a  letter  of  your  own  device. 

Silvius.  No,  I  protest,  I  know  not  the  contents  ; 
Phebe  did  write  it. 

Rosalind.  Come,  come,  you  are  a  foo!. 

And  turn'd  into  the  extremity  of  love. 
I  saw  her  hand  ;  she  has  a  leathern  hand, 
A  freestone-colour'd  hand  :  I  verily  did  think 
That  her  old  gloves  were  on,  but  't  was  her  hands : 
She  has  a  huswife's  hand  ;  but  that 's  no  matter: 
I  say  she  never  did  invent  this  letter  ; 
This  is  a  man's  invention  and  his  hand. 
Silvias.   Sure,  it  is  hers. 

Rosalind.  Why,  't  is  a  boisterous  and  a  cruel  style, 
A  style  for  challengers  ;  why,  she  defies  me, 
Like  Turk  to  Christian:  woman's  gentle  brain 
Could  not  drop  forth  such  giant-rude  invention, 
Such  Kthiope  words,  blacker  in  their  effect 
Than  in  their  countenance.     Will  you  hear  the  letter? 

Silrius.   So  please  you,  for  I  never  heard  it  yet, 
!•  et  heard  too  much  of  Phebe's  cruelty. 

Rosalind.   She  IMiebes  me:   mark  how  the  tyrant  writes. 
[Reads]    .•'/;•/  thou  god  to  shcplierd  turn '  d, 

That  a  maiden's  heart  liat/i  Ininid?  — 
Can  a  woman  rail  thus? 

Silrnis.   Call  you  this  railing? 
f\< >  sal >".;!.    [  Reads] 

//7/i',  ti'iy  godhead  laid  apart, 
M'arr  st  thou  with  a  wonian's  heart  ? 
Dili  you  ever  hear  such  railing?  — 

}\'/iiles  the  e\e  of  man  di.l  ii<oo  me. 
That  i'onl,l  do  no  --enhance  to  me. — 
Meaning  me  a  beast. — 

//  ///,'  s«>ni  of  \oiir  hriglit  c\ne 
Have  power  to  raise  snJi  lov:  in  mt/ic, 
G 


98  AS   YOU  LIKE  IT. 

Alack,  in  me  what  strange  effect 

Would  they  work  in  mild  aspect ! 

Whiles  you  chid  me,  1  did  love ; 

How  then  might  your  prayers  movt! 

He  that  brings  this  love  to  thce 

Little  knows  this  love  in  me; 

And  by  him  seal  up  thy  mind : 

Whether  that  thy  youth  and  kind 

Will  the  faithful  offer  take  oo 

Of  me  and  all  that  I  can  make  ; 

Or  else  by  him  my  love  deny, 

And  then  I  '//  study  how  to  die. 
Silvius.  Call  you  this  chiding? 
Cdia.  Alas,  poor  shepherd  ! 

Rosalind.  Do  you  pity  him?  no,  he  deserves  no  pity. — 
Wilt  thou  love  such  a  woman  ?  What,  to  make  thee  an 
instrument  and  play  false  strains  upon  thee !  not  to  be 
endured  !  Well,  go  your  way  to  her,  for  I  see  love  hath 
made  thee  a  tame  snake,  and  say  this  to  her  :  that  if  she 
love  me,  I  charge  her  to  love  thee  ;  if  she  will  not,  I  will 
never  have  her  unless  thou  entreat  for  her.  If  you  be  a 
true  lover,  hence,  and  not  a  word  ;  for  here  comes  more 
company.  \Exit  Silvius. 

Enter  OLIVER. 

Oliver.  Good  morrow,  fair  ones  :  pray  you,  if  you  know, 
Where  in  the  purlieus  of  this  forest  stands  76 

A  sheepcote  fenc'd  about  with  olive  trees  ? 

Celia.  West  of  this  place,  down  in  the  neighbour  bottom; 
The  rank  of  osiers  by  the  murmuring  stream 
Left  on  your  right  hand  brings  you  to  the  place.  R,, 

Hut  at  this  hour  the  house  doth  keep  itself; 
There  's  none  within. 

Oliver.   If  that  an  eye  may  profit  by  a  tongue. 
Then  should  I  know  you  by  description  ; 


ACT  IV.     SCENE  III. 

Such  garments  and  such  years  :  '  The  boy  is  fair. 

Of  female  favour,  and  bestows  himself 

Like  a  ripe  sister:  the  woman  low 

And  browner  than  her  brother.'     Are  not  you 

The  owners  of  the  house  I  did  enquire  for? 

Ce/ia.  It  is  no  boast,  being  ask'd,  to  say  we  are. 

Oliver.  Orlando  doth  commend  him  to  you  both, 
And  to  that  youth  he  calls  his  Rosalind 
He  sends  this  bloody  napkin. — Are  you  he  ? 

Rosalind.   I  am:  what  must  we  understand  by  this? 

Oliver.   Some  of  my  shame  ;  if  you  will  know  of  me 
What  man  I  am,  and  how,  and  why,  and  where 
This  handkercher  was  stain'd. 

Ce/ia.  I  pray  you,  tell  it. 

Oliver.  When  last  the  young  Orlando  parted  from  you, 
He  left  a  promise  to  return  again 
Within  an  hour,  and  pacing  through  the  forest, 
Chewing  the  food  of  sweet  and  bitter  fancy, 
Lo,  what  befell !      He  threw  his  eye  aside, 
And  mark  what  object  did  present  itself! 
Under  an  oak,  whose  boughs  were  moss'd  with  age 
And  high  top  bald  with  dry  antiquity, 
A  wretched  ragged  man,  o'ergrown  with  hair, 
Lay  sleeping  on  his  back  ;  about  his  neck 
A  green  and  gilded  snake  had  wreath'd  itself, 
Who  with  her  head  nimble  in  threats  approach'd 
The  opening  of  his  mouth  :  but  suddenly, 
Seeing  Orlando,  it  unlink'd  itself, 
And  with  indented  glides  did  slip  away 
Into  a  bush  ;  under  which  bush's  shade 
A  lioness,  with  udders  all  drawn  dry, 
Lay  couching,  head  on  ground,  with  catlike  watch, 
When  that  the  sleeping  man  should  stir  :   for  't  is 
The  royal  disposition  of  that  beast 
To  prey  on  nothing  that  doth  serin  as  dead. 


99 


100  AS   YOU  LIKE  ri. 

This  seen,  Orlando  did  approach  the  man, 

And  found  ii  was  his  brother,  his  elder  brother.  <™ 

Celia.  O,  I  have  heard  him  speak  of  that  same  brother; 
And  he  did  render  him  the  most  unnatural 
That  liv'd  amongst  men. 

Oliver.  And  well  he  might  so  do, 

For  well  I  know  he  was  unnatural. 

Rosalind.  But,  to  Orlando  :  did  he  leave  him  there, 
Food  to  the  suck'd  and  hungry  lioness  ? 

Oliver.  Twice  did  he  turn  his  back  and  purpos'd  so  ; 
But  kindness,  nobler  ever  than  revenge, 
And  nature,  stronger  than  his  just  occasion, 
Made  him  give  battle  to  the  lioness,  130 

Who  quickly  fell  before  him ;  in  which  hurtling 
From  miserable  slumber  I  awak'd. 

Cc/ia.   Are  you  his  brother? 

Rosalind.  Was  't  you  he  rescued  ? 

Cclia.   Was  't  you  that  did  so  oft  contrive  to  kill  him? 

Oliver.  'T  was  I  ;  but  't  is  not  I  :  I  do  not  shame 
To  tell  you  what  I  was,  since  my  conversion 
So  sweetly  tastes,  being  the  thing  I  am. 

Rosalind.   But,  for  the  bloody  napkin? 

Oliver.  By  and  by. 

When  from  the  first  to  last  betwixt  us  two 
Tears  our  recountments  had  most  kindly  bath'd,  14^ 

As  how  I  came  into  that  desert  place, — 
In  brief,  he  led  me  to  the  gentle  duke. 
Who  gave  me  fresh  array  and  entertainment, 
Committing  me  unto  my  brother's  love; 
Who  led  me  instantly  unto  his  cave, 
There  stripp'd  himself,  and  here  upon  his  arm 
The  lioness  had  torn  some  flesh  away. 
Which  all  this  while  had  bled  ;  and  now  he  fainted. 
And  cried,  in  fainting,  upon  Rosalind. 
Briet.  1  recover'd  him,  bound  up  his  wound  ;  i^j 


ACT  IV.     SCENE  ///.  ioi 

And,  after  some  small  space,  being  strong  at  heart, 

He  sent  me  hither,  stranger  as  I  am, 

To  tell  this  story,  that  you  might  excuse 

His  broken  promise,  and  to  give  this  napkin 

Dyed  in  his  blood  unto  the.  shepherd  youth 

That  he  in  sport  doth  call  his  Rosalind.       {Rosalind  sivjons. 

Celia.  Why,  how  now,  Ganymede  !  sweet  Ganymede  ! 

Oliver.   Many  will  swoon  when  they  do  look  on  blood. 

Celia.  There  is  more  in  it. — Cousin  Ganymede  ! 

Oliver.   Look,  he  recovers.  iOc 

Rosalind.   I  would  I  were  at  home. 

Celia.  We  '11  lead  you  thither.  — 

I  pray  you,  will  you  take  him  by  the  arm  ? 

Oliver.  ]>e  of  good  cheer,  youth:  you  a  man!  you  lack  a 
man's  heart. 

Rosalind.  I  do  so,  I  confess  it.  Ah,  sirrah,  a  body  would 
think  this  was  well  counterfeited  !  I  pray  you,  tell  your 
brother  how  well  I  counterfeited. — Heigh-ho! 

Oliver.  This  was  not  counterfeit :  there  is  too  great  testi- 
mony in  your  complexion  that  it  was  a  passion  of  earnest. 

Rosalind.   Counterfeit,  I  assure  you.  i;o 

Oliver.  Well  then,  take  a  good  heart  and  counterfeit  tu 
be  a  man. 

Rosalind.  So  I  do :  but,  i'  faith,  I  should  have  been  a 
woman  by  right. 

Celia.  Come,  you  look  paler  and  paler  :  pray  you,  drav, 
homewards. — Good  sir,  go  with  us. 

Oliver.  That  will  I,  for  1  must  bear  answer  back 
How  you  excuse  my  brother,  Rosalind. 

Rosalind.  I  shall  devise  something  :  but,  I  pray  you,  com 
mend  my  counterfeiting  to  him. — Will  yuu  go?  \_Excnnt. 


lu  the 


time,  the  only  pretty  ring  time  " 


SCENE  I.     The  Forest. 
Enter  TOUCHSTONE  and  AUDREY. 

Touchstone.  Y/e  shall  find  a  time,  Audrey;  patience,  gen 
tie  Audrey. 

Audrey.  Faith,  the  priest  was  good  enough,  for  all  the  old 
gentleman's  saying. 

Touchstone.  A  most  wicked  Sir  Oliver,  Audrey,  a  most 
vile  Martext.  Eut,  Audrey,  there  is  a  youth  here  in  ).he 
forest  lays  claim  to  you. 

Audrey.  Ay,  I  know  who  't  is  ;  lie  hath  no  interest  in  me 
in  the  world  :  here  comes  the  man  you  mean.  9 

Touchstone.  It  is  meat  and  drink  to  me  to  see  a  clown. 
By  my  troth,  we  that  have  good  wits  have  much  to  answer 
for  :  we  shall  be  flouting  ;  we  cannot  hold. 


ACT   V.     SCE.VE    f.  103 

Enter  WILLIAM. 

William.  Good  even,  Audrey. 

Audrey.  God  ye  good  even,  William. 

William.  And  good  even  to  you,  sir. 

Touchstone.  Good  even,  gentle  friend.  Cover  thy  head, 
cover  thy  head  ;  nay,  prithee,  be  covered.  How  old  are 
you,  friend  ? 

William.   Five  and  twenty,  sir. 

'louchstone.   A  ripe  age.     Is  thy  name  William  ? 

William.  William,  sir. 

Touchstone.  A  fair  name.     Wast  born  i'  the  forest  here? 

William.   Ay,  sir,  I  thank  God. 

Touchstone.  Thank  God  ! — a  good  answer.     Art  rich? 

William.   Faith,  sir,  so-so. 

Touchstone.  So-so  is  good,  very  good,  very  excellent  good  ; 
and  yet  it  is  not  ;  it  is  but  so-so.  Art  thou  wise? 

William.   Ay,  sir,  I  haye_a, pretty  wit 

Touchstone.  WTiy,  thou  sayest  well.  I  do  now  remember 
a  saying,  'The  fool  doth  think  he  is  wise,  but  the  wise  man 
knows  himself  to  be  a  fool.'  The  heathen  philosopher, 
when  he  had  a  desire  to  eat  a  grape,  would  open  his  lips 
when  he  put  it  into  his  mouth  ;  meaning  thereby  that 
grapes  were  made  to  eat  and  lips  to  open.  You  do  love 
this  maid? 

William.   I  do,  sir. 

Touchstone.  Give  me  your  hand.      Art  thou  learned  ? 

William.   No,  sir.  33 

Touchstone.  Then  learn  this  of  me  :  to  have,  is  to  have  : 
for  it  is  a  figure  in  ihetoric  that  drink,  being  poured  out  of 
a  cup  into  a  glass,  by  filling  the  one  doth  empty  the  other  ; 
for  all  your  writers  do  consent  that  ipse  is  he  :  now,  you  are 
not  //w,  for  I  am  he. 

\\'illiam.  Which  he,  sir  ?  •»•» 

He,  sir,  that  must  many  this  woman.  There- 


104  AS  You 

fore,  you  clown,  abandon, — which  is  in  the  vulgar  leave, — 
the  society, — which  in  the  boorish  is  company, — of  this 
female, — which  in  the  common  is  woman  ;  which  together 
is,  abandon  the  society  of  this  female,  or,  clown,  thou 
perishest  ;  or,  to  thy  better  understanding,  diest ;  or,  to  wit, 
I  kill  thee,  make  thee  away,  translate  thy  life  into  death, 
thy  liberty  into  bondage.  I  will  deal  in  poison  with  thee. 
or  in  bastinado,  or  in  steel  ;  I  will  bandy  with  thee  in  fac- 
tion ;  I  will  o'errun  thee  with  policy  ;  I  will  kill  thee  a 
hundred  and  fifty  ways  :  therefore  tremble,  and  depart.  55 

Audrey.   Do,  good  William. 

William.  God  rest  you  merry,  sir.  [Exit. 

Enter  CORIN. 

Corin.  Our  master  and  mistress  seeks  you  ;  come,  away, 
away  ! 

Toiictistoiic.  Trip,  Audrey  !  trip,  Audrey  ! — I  attend,  1  at- 
tend. [Exeunt. 

SCE.N-K   II.      The  Forest. 
Enter  ORLANDO  and  OI.IVKR. 

Orlando.  Is  't  possible  that  on  so  little  acquaintance  you 
should  like  her?  that  but  seeing  you  should  love  her?  and 
loving  woo?  and,  wooing,  she  should  grant?  and  will  you 
persever  to  enjoy  her  ? 

Olircr.  Neither  call  the  giddiness  of  it  in  question,  the 
poverty  of  her,  the  small  acquaintance,  my  sudden  wooing, 
nor  her  sudden  consenting  ;  but  say  with  me,  I  love  Aliena  ; 
say  with  her  that  she  loves  me  ;  consent  with  both  that  we 
may  enjoy  each  other.  It  shall  be  to  your  good  ;  for  my 
father's  house  and  all  the  revenue  that  was  old  Sir  Row- 
land's will  I  olale  upon  you,  and  here  live  and  die  a 
shepherd.  12 

Orlando.    You    "have    inv    consent.      Let   vour   wedding   be 


ACT   V.     SCENE   II.  ^5 

to-morrow ;  thither  will  1  invite  the  duke  and  ul!  's  con- 
tented followers.  Go  you  and  prepare  Aliena:  for  look 
you,  here  romes  my  Rosalind. 

Enter  ROSALIND. 

Rosalind.  God  save  you,  brother. 

Oliver.   And  you,  fair  sister.  [Exit. 

Rosalind.  O,  my  clear  Orlando,  how  it  grieves  me  to  see 
thee  wear  thy  heart  in  a  scarf!  20 

Orlando.   It  is  my  arm. 

Rosalind.  I  thought  thy  heart  had  been  wounded  with  the 
ciaws  of  a  lion. 

Orlando.   Wounded  it  is,  but  with  the  eyes  of  a  lady. 

Rosalind.  Did  your  brother  tell  you  ho\v  I  counterfeited 
to  swoon  when  he  showed  me  your  handkercher? 

Orlando.  Ay,  and  greater  wonders  than  that.  27 

Rosalind.  O,  I  know  where  you  are  :  nay,  't  is  true  ;  there 
was  never  any  thing  so  sudden  but  the  fight  of  two  rams 
and  Casar's  thrasonical  brag  of  '  I  came,  saw,  and  over- 
came.' For  your  brother  and  my  sister  no  sooner  met  but 
they  looked,  no  sooner  looked  but  they  loved,  no  sooner 
loved  but  they  sighed,  no  sooner  sighed  but  they  asked  one 
another  the  reason,  no  sooner  knew  the  reason  but  they 
sought  the  remedy  ;  and  in  these  degrees  have  they  made 
a  pair  of  stairs  to  marriage  which  they  \\ill  climb  inconti- 
nent. They  are  in  the  very  wroth  of  love,  and  they  will 
together  ;  clubs  cannot  part  them.  ^ 

Orlando.  They  shall  be  married  to-'norrow,  and  I  will 
bid  the  duke  to  the  nuptial.  I'ut,  ( ).  how  bitter  a  thing  it 
is  to  look  into  happiness  through  another  man's  eyes  !  1!) 
so  much  the  more  shall  I  to-morrow  be  at  the  height  of 
heau-heaviness,  by  how  much  1  shall  think  my  brother 
happy  in  having  what  he  wishes  for. 

Rosalind,  \\liy  then,  to-morrow  1  cannot  serve  your  turn 
for  Rosalind  ? 


106  AS   YOU  LIKE  IT. 

Orlando.   I  can  live  no  longer  by  thinking. 

Rosalind.  I  will  weary  you  then  no  longer  with  idle  talk- 
ing. Know  of  me  then,  for  now  I  speak  to  some  purpose, 
that  I  know  you  are  a  gentleman  of  good  conceit:  I  speak 
not  this  that  you  should  bear  a  good  opinion  of  my  knowl- 
edge, insomuch  1  say  I  know  you  are  ;  neither  do  I  labour 
for  a  greater  esteem  than  may  in  some  little  measure  draw 
a  belief  from  you,  to  do  yourself  good  and  not  to  grace  me. 
Jtelieve  then,  if  you  please,  that  I  can  do  strange  things  :  I 
have,  since  I  was  three  year  old,  conversed  with  a  magician, 
most  profound  in  his  art  and  jet  not  damnable.  If  you  do 
love  Rosalind  so  near  the  heart  as  your  gesture  cries  it  out, 
when  your  brother  marries  Aliena,  shall  you  marry  her.  I 
know  into  what  straits  of  fortune  she  is  driven  ;  and  it  is  not 
impossible  to  me,  if  it  appear  not  inconvenient  to  you,  to  set 
her  before  your  eyes  to-morrow,  human  as  she  is,  and  with- 
out any  danger.  63 

Orlando.   Speakcst  thou  in  sober  meanings? 

Rosalind.  JJy  my  life,  I  do  ;  \\hich  I  tender  dearly,  though 
I  say  I  am  a  magician.  Therefore,  put  you  in  your  best  ar- 
ray, bid  your  friends  ;  for  if  you  will  be  married  to-morrow, 
you  shall;  and  to  Rosalind,  if  you  will. 

Enter  Sn.virs  and  PHKKE. 
Look,  here  comes  a  lover  of  mine  and  a  lover  of  hers. 

/'//i'/v.  Youth,  you  have  done  me  much  ungentleness,  70 
To  shew  the  letter  that  I  writ  to  you. 

Rosalind.    I  care  not  if  I  have  ;   it  is  my  study 
To  seem  despiteful  and  ungentle  to  you. 
You  are  there  follow'd  by  a  faithful  shepherd; 
Look  upon  him.  love  him  :   he  worships  you. 

J'/iti't'.   (lood  shepherd,  tell  this  youth  what  '•.  is  to  love. 

Si/i'i/ts.    It  is  to  be  all  made  of  sighs  and  tears  ; 
And  so  am   I   t<  if  I'hebe. 

J7ul>i.   And  1  fur  Ganunede. 


ACT  V.     SCENE   II.  107 

Oilando.  And  I  for  Rosalind.  z> 

Rosalind.   And  I  for  no  woman. 

Si/rius.  It  is  to  be  all  made  of  faiih  ;ind  service  : 
And  so  am  I  for  Phebe. 

Pkcbc.  And  I  for  Ganymede. 

Orlando.   And  I  for  Rosalind. 

Rosalind.   And  I  for  no  woman. 

Sih'itts.   It  is  to  be  all  made  of  fantasy 
All  made  of  passion,  and  all  made  of  wishes. 
All  adoration,  duty,  and  observance, 

All  humbleness^  all  patience,  and  impatience,  c* 

All  purity,  all  trial,  all  obedience  ; 
And  so  am  I  for  Phebe. 

J'lui'c.   And  so  am  I  for  Ganymede. 

Orlando.   And  so  am  I  for  Rosalind. 

Rosalind.   And  so  am  I  for  no  woman. 

riiclh'.   If  this  be  so,  why  blame  you  me  to  love  you  ? 

Sih'ins.   If  this  be  so,  why  blame  you  me  to  love  you? 

Orlando.    If  this  be  so,  why  blame  you  me  to  love  you  ? 

Rosalind.  Why  do  you  speak  too, '  Why  blame  you  me  to 
love  you  ?'  100 

Orlando.  To  her  that  is  not  here,  nor  doth  not  hear. 

Rosalind.  Pray  you,  no  more  of  this  :  \  is  like  the  howl- 
ing of  Irish  wolves  against  the  moon.  \_To  Silrias]  I  will 
help  you,  if  I  can.  \_To  Phebc\  I  would  love  you,  if  I  could. 
To-morrow  meet  me  all  together.  \_To  /'//</'<•]  I  will  marry 
you,  if  ever  I  marry  woman,  and  I  '11  be  married  to-morrow. 
[  lo  Orlando}  I  will  satisfy  you,  if  ever  I  satisfied  man,  and 
you  shall  be  married  to-morrow.  [  To  Silrins\  I  will  con- 
tent you,  if  what  pleases  you  contents  you.  ami  you  shall 
be  married  to-morrow.  [  To  Orlando}  A>  you  love  Rosalind, 
meet  ;  \_To  Sil~'iits\  as  you  love  Phebe,  meet;  and  as  I  love 
no  woman,  1  '11  meet,  bo  hue  you  well  ;  I  have  Lit  you 
commands.  nj 

Si/rius.    I  '11  not  fail,  it'  I  live. 


I08  AS    YOU  LIKE   IT. 

Phebc.  Nor  I. 

Orlando.  Nor  I.  \Exeunt. 

SCENE  TIL     The  Forest. 
Enter  TOUCHSTONE  and  AUDREY. 

Touchstone.  To-morrow  is  the  joyful  day,  Audrey  ;  tc  • 
morrow  will  we  be  married. 

Audrey.  I  do  desire  it  with  all  my  heart ;  and  I  hope  it  is 
no  dishonest  desire  to  desire  to  be  a  woman  of  the  world. 
Here  come  two  of  the  banished  duke's  pages. 

Enter  tu>o  Pages. 

First  Page.   Well  met,  honest  gentleman. 

Touchstone.  By  my  troth,  well  met.  Come,  sit,  sit,  and  a 
song. 

Second  Page,  We  are  for  you  ;  sit  i'  the  middle.  9 

First  Page.  Shall  we  clap  into  't  roundly,  without  hawk- 
ing or  spitting  or  saying  we  are  hoarse,  which  are  the  only 
prologues  to  a  bad  voice  ? 

Second  Page.  V  faith.  i:  faith  ;  and  both  in  a  tune,  like  two 
gypsies  on  a  horse. 

Song. 

//  was  a  lover  and  his  lass, 

With  a  hey,  and  a  ho,  and  a  hc\  r.onino, 

That  o'er  the  green  corn-field  did  pass 
In  spring  time,  the  only  pretty  ring  time, 

When  birds  do  sing,  hey  ding  a  ding,  ding: 
Sweet  lovers  love  the  spring. 

Between  the  acres  of  the  rye, 

With  a  hey.  and  a  ho,  and  a  Jiev  noiiino, 

These  pretty  countryfolks  would  lie, 
In  spring  time,  etc. 


ACT  V.     SCENE   Jl'.  I09 

This  carol  tJu-y  began  that  hour, 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 

How  that  a  life,  was  but  a  flower 
In  spring  time,  etc. 

And  therefore  take  the  present  time. 

With  a  hey,  and  a  ho,  and  a  hey  nonius ;  ^ 

For  l<n*e  is  crowned  with  the  prime 

In  spring  time,  etc. 

Touchstone.  Truly,  young  gentlemen,  though  there  was  no 
gieat  matter  in  the  ditty,  yet  the  note  was  very  untuneable. 

First  Page.  You  are  deceived,  sir  ;  we  kept  time,  \ve  lost 
not  our  time. 

Touchstone.  By  my  troth,  yes  ;  I  count  it  but  time  lost  to 
lv.-ar  such  a  foolish  song.  God  be  \vi'  you  ;  and  God  mend 
your  voices  ! — Come,  Audrey.  \Fxeunt. 

SCENE  IV.      The  Forest. 

Filter  DCKK  Senior,  AMIKNS.  JAIJUKS,  ORLANDO, 
OLIVER,  and  CLLIA. 

Duke  Senior.   Dost  thou  believe,  Orlando,  that  the  boy 
Can  do  all  this  that  he  hath  promised  ? 

Orlando.  I  sometimes  do  believe,  and  sometimes  do  not  , 
As  those  that  fear  they  hope,  and  know  they  fear. 

Fntcr  ROSALIND,  SILVIUS,  and  PIIKP.F.. 

Rosal.-itd.    Patience    once    more,   whiles    our    compact    is 

urg'd. — 

You  say,  if  I  bring  in  your  Rosalind, 
You  will  bestow  her  on  Orlando  here? 

Duke  Senior.  That  would  I,  had  I  kingdoms  to  crive  with 

*^  O 

her. 

Rosa'.in'l.    And  you   say,  you  will   have   her   when   I  bring 
her? 


no  AS   YOU  LIKE   IT. 

Orlando.  That  would  I,  were  I  of  all  kingdoms  king.       10 

Rosalind.  You  say  you  '11  marry  me,  if  I  be  willing? 

J'/tfbc.  That  will  1,  should  I  die  the  hour  after. 

Rosalind.   But  if  you  do  refuse  to  marry  me, 
You  '11  give  yourself  to  this  most  faithful  shepherd  ? 

Phebe.   So  is  the  bargain. 

Rosalind.  You  say  that  you  '11  have  Phebe,  if  she  will  ? 

Si/rinx.  Though  to  have  her  and   death  were   both   one 
thing. 

Rosalind.   I  have  promis'd  to  make  all  this  matter  even. 
Keep  you  your  word,  O  duke,  to  give  your  daughter  ; — 
You  yours,  Orlando,  to  receive  his  daughter  : —  20 

Keep  your  word,  Phebe,  that  you  '11  marry  me, 
Or  else  refusing  me,  to  wed  this  shepherd  : — 
Keep  your  word,  Silvius,  that  you  '11  marry  her, 
If  she  refuse  me  : — and  from  hence  I  go, 
To  make  these  doubts  all  even.    \Exeunt  Rosalind  and  Cclia. 

Duke  Senior.   I  do  remember  in  this  shepherd  boy 
Some  lively  touches  of  my  daughter's  favour. 

Orlando.   My  lord,  the  first  time  that  I  ever  saw  him 
Methought  he  was  a  brother  to  your  daughter ; 
Pint,  my  good  lord,  this  boy  is  forest-born,  v 

And  hath  been  tutor'd  in  the  rudiments 
Of  many  desperate  studies  by  his  uncle. 
Whom  he  reports  to  be  a  great  magician, 
Obscured  in  the  circle  of  this  forest. 

Enter  TOUCHSTOXF.  and  AFPRKY. 

Jaqncs.  There  is,  sure,  another  flood  toward,  and  these 
couples  are  coining  to  the  ark!  Here  conies  a  pair  of 
very  strange  beasts,  which  in  all  tongues  are  called  fools, 

Touchstone.   Salutation  and  greeting  to  you  all  ! 

Jaques.  Good  my  lord,  bid  him  welcome.  This  is  the 
motley-minded  gentleman  that  I  have  so  often  met  in  the 
forest  ;  he  hath  been  a  courtier,  he  swears.  41 


ACT  V.     SCENE  IV.  XXI 

Touchstone.  If  any  man  doubt  that,  let  him  put  me  to  my 
purgation.  I  have  trod  a  measure  ;  I  have  flattered  a  lady  ; 
I  have  been  politic  with  my  friend,  smooth  with  mine  enemy; 
I  have  undone  three  tailors ;  I  have  had  four  quarrels,  and 
like  to  have  fought  one. 

Jaques.   And  how  was  that  ta'en  up? 

Touchstone.  Faith,  \ve  met,  and  found  the  quarrel  was 
upon  the  seventh  cause. 

Jaqucs.  How  seventh  cause  ? — Good  my  lord,  like  this 
fellow.  5l 

Duke  Senior.   I  like  him  very  well. 

Touchstone.  God  'ield  you,  sir;  I  desire  you  of  the  like. 
I  press  in  here,  sir,  amongst  the  rest  of  the  country  copula- 
tives, to  swear  and  forswear;  according  as  marriage  binds 
and  blood  breaks.  A  poor  virgin,  sir,  an  ill-favoured  thing, 
sir,  but  mine  own  ;  a  poor  humour  of  mine,  sir,  to  take  that 
that  no  man  else  will.  Rich  honesty  dwells  like  a  miser, 
sir,  in  a  poor  house  ;  as  your  pearl  in  your  foul  oyster. 

Duke  Senior.  By  my  faith,  he  is  very  swift  and  senten- 
tious. 61 

Touchstone.  According  to  the  fool's  holt,  sir,  and  such 
dulcet  diseases. 

Jaques.  But,  for  the  seventh  cause  ;  how  did  you  find  the 
quarrel  on  the  seventh  cause? 

Touchstone.  Upon  a  lie  seven  times  removed  :  — bear  your 
body  more  seeming,  Audrey  : — as  thus,  sir.  I  did  dislike 
the  cut  of  a  certain  courtier's  beard  :  lie  sent  me  word,  if  I 
said  his  beard  was  not  cut  well,  he  was  in  the  mind  it  was  • 
this  is  called  the  Retort  Courteous.  If  I  sent  him  word 
again  it  was  not  well  cut,  he  would  send  me  word,  he  cut 
it  to  please  himself:  this  is  called  the  Quip  Modest.  If 
again,  it  was  not  well  cut,  he  disabled  my  judgment:  this 
is  called  the  Reply  Churlish.  If  again,  it  was  not  well  cut, 
he  would  answer,  I  spake  not  true  :  this  is  called  the  Re- 
proof Valiant.  If  again,  it  was  not  well  cut,  he  would  say, 


x  ,  2  AS   YOU  LIKE  IT. 

I  lied:  this  is  called  the  Countercheck  Quarrelsome:  and 
so  to  the  Lie  Circumstantial  and  the  Lie  Direct. 

Jaques.  And  how  oft  did  you  say  his  beard  was  not  well 

CUt  ?  So 

Touchstone.  I  durst  go  no  further  than  the  Lie  Circum- 
stantial, nor  he  durst  not  give  me  the  Lie  Direct ;  and  so 
we  measured  swords  and  parted. 

Jaques.  Can  you  nominate  in  order  now  the  degrees  of 
the  lie?  85 

Touchstone.  O  sir,  we  quarrel  in  print,  by  the  book  ;  as 
you  have  books  for  good  manners.  I  will  name  you  the 
degrees  :  the  first,  the  Retort  Courteous ;  the  second,  the 
Quip  Modest ;  the  third,  the  Reply  Churlish  ;  the  fourth, 
the  Reproof  Valiant ;  the  fifth,  the  Countercheck  Quarrel- 
some ;  the  sixth,  the  Lie  with  Circumstance  ;  the  seventh, 
the  Lie  Direct.  All  these  you  may  avoid  but  the  Lie 
Direct  ;  and  you  may  avoid  that  too.  with  an  '  If.'  I  knew 
when  seven  justices  could  not  take  up  a  quarrel,  but  when 
the  parties  were  met  themselves,  one  of  them  thought  but 
of  an  '  If,'  as,  'If  you  said  so,  then  I  said  so;'  and  they 
shook  hands  and  swore  brothers.  Your  'If  is  the  only 
peace-maker;  much  virtue  in  'If.'  98 

Jaqucs.  Is  not  this  a  rare  fellow,  my  lord?  he  's  as  good 
at  any  thing,  and  yet  a  fool. 

l^uke  Senior.  He  uses  his  folly  like  a  stalking-horse,  and 
under  the  presentation  of  that  he  shoots  his  wit. 

/////<•/•  HYMKN,  leading  Ros.AUxn  /;/  her  proper  habit,  and 
CKUA.     Still  Music. 

HyinMi.  Then  is  there  mirth  in  heaven, 
When  earthly  tilings  made  even 

Atone  together.  11.5 

(lood  duke,  receive  thy  daughter: 
Hymen  from  heaven  brought  her. 

Yea,  brought  her  hither, 


ACT   I'.     SCENE   IV.  113 

That  thou  mightst  join  her  hand  with  his 

Whose  heart  within  her  bosom  is.  no 

Rosalind.    [7'o  Dukc\   To    you    I    give    myself,  for    I    am 

yours. — • 
[7'o  Orlandii\  To  you  I  give  myself,  for  I  am  yours. 

Duke    Senior.   If   there    be    truth    in    sight,   you    an,-    my 

daughter. 

Orlando.   If  there  be  truth  in  sight,  you  are  my  Rosalind. 
rhebe.   If  sight  and  shape  be  true, 
Why  then,  my  love  adieu  ! 

Rosalind.   1  '11  have  no  father,  if  you  be  not  he  ; — 
I  '11  have  no  husband,  if  you  be  not  he  ; — 
Nor  ne'er  wed  woman,  it"  you  be  not  she. 
Hymen.       Peace,  ho  !     I  bar  confusion. 
'T  is  I  must  make  conclusion 

Of  these  most  strange  events: 
Here  's  eight  that  must  take  hands 
To  join  in  Hymen's  bands, 

If  truth  holds  true  contents. 
You  and  you  no  cross  shall  part  ; — 
You  and  you  are  heart  in  heart  ; — 
You  to  his  love  must  accord. 
Or  have  a  woman  to  your  lord; — 
You  and  you  are  sure  together,  ,;n 

As  the  winter  to  foul  weather. — 
Whiles  a  wedlock-hymn  we  sing, 
Feed  yourselves  with  questioning, 
That  reason  wonder  may  diminish, 
How  thus  we  met,  and  these  things  finish. 

Song. 
IV.'ddin^  is  ^reat  J"f/fi<>\i  cro'ii'ti  : 

O  />/t-sst-i/  bond  of  board  and  bed  ! 
'7' is  Hymen  peoples  e~-t.r\  town  : 
H/^/t  wedlock  then  be  honoured : 
II 


ill  AS   YOU  LIKE  IT. 

Honour,  high  honour  and  renown,  M 

To  Hymen,  god  of  ci'cry  town  ! 

Duke  Senior.  O  my  clear  niece,  welcome  thou  art  to  me ! 
Even  daughter,  welcome,  in  no  less  degree. 

Phebc.  I  will  not  eat  my  word,  now  thou  art  mine; 
Thy  faith  my  fancy  to  thee  doth  combine. 

F.  ntcr  JAQUES  DE  BOYS. 

Jaqucs  de  Boys.   Let  me  have  audience  for  a  word  or  two 
I  am  the  second  son  of  old  Sir  Rowland, 
That  bring  these  tidings  to  this  fair  assembly. 
Duke  Fredetick,  hearing  how  that  every  clay 
Men  of  great  worth  resorted  to  this  forest,  JS 

Address'd  a  mighty  power,  which  were  on  foot, 
Jn  his  own  conduct,  purposely  to  take 
His  brother  here  and  put  him  to  the  sword: 
And  to  the  skirts  of  this  wild  wood  he  came, 
Where  meeting  with  an  old  religious  man, 
After  some  question  with  him,  was  converted 
Both  from  his  enterprise  and  from  the  world  ; 
His  crown  bequeathing  to  his  banish'd  brothei, 
And  all  their  lands  restor'd  to  them  again 
That  were  with  him  exil'd.     This  to  be  true,  'ryl 

I  do  engage  my  life. 

Duke  Senior.  Welcome,  young  man  ; 

Thou  offer'st  fairly  to  thy  brothers'  wedding: 
To  one  his  lands  withheld;  and  to  the  other 
A  land  itself  at  large,  a  potent  dukedom. 
First,  in  this  forest  let  us  do  those  ends 
That  here  were  well  begun  and  well  begot  ; 
And  after,  every  of  this  happy  number 
That  have  endur'd  shrewd  days  and  nights  with  us 
Shall  share  the  good  of  our  returned  fortune, 
According  to  the  measure  of  their  states.  '7' 


ACT  V.     SCENE   Ilr.  H5 

Meantime,  forget  this  new-fallen  dignity, 

And  fall  into  our  rustic  revelry. — 

Play,  music  !  — And  you,  brides  and  bridegrooms  all, 

With  measure  heap'd  in  joy,  to  the  measures  fall. 

Jciques.  Sir,  by  your  patience.     If  I  heard  you  rightly, 
The  duke  hath  put  on  a  religious  life, 
And  thrown  into  neglect  the  pompous  court? 

Jaqnes  de  Boys.   He  hath. 

Jaques.  To  him  will  I  ;  out  of  these  convertites 
There  is  much  matter  to  be  heard  and  learn'd.—  iCf- 

[7t>  Duke}  You  to  your  former  honour  I  bequeath  ; 
Your  patience  and  your  virtue  well  deserves  it  : — 
[7lf    Orlando}    You    to    a    love    that   your   true    faith    doth 

merit  : — 

[7''  Olirer}   You  to  your  land  and  love  and  great  allies: — 
[  To  Silrius\   You  to  a  long  and  well-deserved  bed  : — 
\lo    Touchstone}    And    yon    to    wrangling;     for    thy    lovrng 

voyage 

Is  but  for  two  months  victuall'd. — So,  to  your  pleasures  ; 
I  am  for  other  than  for  dancing  measures. 

J)uke  Senior.   Stay,  Jaques,  stay. 

Jaqucs.  To  see  no  pastime  I  :  what  you  would  have  190 
I  '11  stay  to  know  at  your  abandon'd  cave.  \_Exit. 

Duke  Senior.  Proceed,  proceed  :  we  will  begin  these  rites, 
As  we  do  trust  they  '11  end,  in  true  delights.  \_A  dance. 

EPILOGUE. 

Rosalind.  It  is  not  the  fashion  to  see  the  lady  the  epilogue  ; 
but  it  is  no  more  unhandsome  than  to  see  the  lord  the  pro- 
logue. If  it  be  true  that  good  wine  needs  no  bush,  't  is  true 
that  a  good  play  needs  no  epilogue  ;  yet  to  good  wine  they 
clo  use  good  bushes,  and  good  plays  prove  the  better  by  the 
help  of  good  epilogues.  What  a  rase  am  I  in  then,  that  am 
neither  a  good  epilogue  nor  cannot  insinuate  with  you  in 
the  behalf  of  a  good  play  !  I  am  not  furnished  like  a  beg- 


Il6  AS   YOU  LIKE  IT. 

gar,  therefore  to  beg  will  not  become  me:  my  way  is  to  con- 
jure you;  and  I  '11  begin  with  the  women.  I  charge  you,  O 
women,  for  the  love  you  bear  to  men,  to  like  as  much  of  this 
play  as  please  you ;  and  I  charge  you,  O  men,  for  the  love 
you  bear  to  women, — as  I  perceive  by  your  simpering,  none 
of  you  hates  them, — that  between  you  and  the  women  the 
play  may  please.  If  I  were  a  woman  I  would  kiss  as  many 
of  you  as  had  beards  that  pleased  me,  complexions  that 
liked  me,  and  breaths  that  I  defied  not  :  and,  I  am  sure,  as 
many  as  have  good  beards  or  good  faces  or  sweet  breaths 
will,  for  my  kind  offer,  when  I  make  curtsy,  bid  me  fare- 
well. \Exeunt. 


NOTES. 


ABBREVIATIONS   USED   IN  THE  NOTES. 

Abbott  (or  dr.),  Abbott's  Shakesfearuin  Grammar  (third  edition). 

A.  S.,  Anglo-Saxon. 

A.  V.,  Authorized  Vjr:;.on  of  the  liible  (1611). 

H.  and  F.,  lienuinoiit  and  Fletcher. 

]'..  ].,  Hen  Jonson. 

Camb.  ed.,  "Cambridge  edition"  of  Shakespeare,  edited  by  Clark  and  Wright 

Cf.  (confer),  compare. 

C'nll.,  Collier  (second  edition'. 

Coll.  MS.,  Manuscript  Corrections  of  Second  Folio,  edited  by  Collier. 

!>.,  Dyce  (second  edition). 

II.,  Hudson  (first  edition^. 

Hen.  V.  (followed  by  reference  to  page],  Kolfe'  s  edition  of  Henry  I'. 

Hen.  VIII.  (followed  by  reference  lo  page),  Rolfe's  edition  of  Henry  I'  HI. 

Id   (iiffift^,  the  same. 

J.  C.  (followed  by  reference  to/,/(."'\  Rolfe's  edition  of  Julius  C,rsar. 

J.  H.,  John  Hunter's  edition  of  As  J  'mi  Like  It  (London,  n.  d.). 

K.,  Knight  (second  editionV 

M.,  Rev.  C.  E.  Moberly's  "  Rugby"  edition  t,{  .Is  You  Like  It  (London,  ,872'). 

Macb.  (followed  by  reference  to  />,i?s},  Kolfe  s  edition  of  Macbeth. 

Mer.,  Kolfe'  s  edition  of  The  Merchant  of  I'enice. 

M.  N.  1).  (followed  by  refc;ei.ce  to  Mr*'),  Rolfe's  edition  <rf  A  Midsiiminer-Xighft 
Dream. 

Nares,  Glossary,  edited  by  Itai'.iwcii  and  'A'riiiu  \I.o-i:I'>Ti,  ..^50,). 

1'rol,  Prologue. 

Rich.  II.  (followed  by  reference  to/>,,?r\  Rolfe's  cduion  of  A'  ic  hard  II. 

S.,  Shakespeare. 

Schmidt,  A.  .Schmidt's  Shakespeare-Lexicon  (1'crliii,  iS;^. 

Sr.,  Singer. 

St.,  Stannton. 

Temp.  (fo!lowed  by  reference  to/(^-\  Rolfe's  edition  of  The  Tempest. 

Theo.  ,  Theobald 

V.,  \  erplanck. 

W.,  White. 

Walker,  Win.  Sidney  Walker's  Critical  Examination  ,</  the  Text  of  Shakespeare 
(London.  iS(,o'. 

W.irb..  Wai  burton. 

Wb.,  Webster's  Ilictionary  ;  revised  quarto  edition  of  iSf,.^. 

Winter,  Rev.  W.  Winter's   Specimen  of  a    C,<mmcnta,y   on   Shakespeare  (Londi.n, 


The  abbreviations  of  the  names  of  Slnkespeare's  Plays  will  be  readily  understood  :  as 
T.  .V.  for  Twelfth  .\ifht.  (':":  for  C<>riala>iHS.  )  Hen  I'L  for  The  Third  I\,rt  of  KinK 
Henry  the  .V/.rM.  etc.'  /'.  /'.  refers  to  The  I'.isshnate  m^ri,,,  ;  I',  and  A.  to  \\-nus 
ami  Adonis  ;  L.  C.  to  Lover's  Complaint  ;  and  Sonn.  to  the  Sennets. 


NOTES. 


INTRODUCTION. 

IT  is  probable  that  the  title  As  )'i'/i  /,//•<•  //  was  sui;i;ested  bv  the  p 
ace  of  Lodge's  novel.      In  his  address  "To  the  Cientiemen  readers,"' 
says  :   "  I  leere  you  may  perhaps  hnde  some  leaves  ot  X'enus  inirtle, 
hewen  down  l>y  a  souldier  with  his  curtelaxi1,  not  bo^ht  with  the  all 
inent  of  a  tiled  tongue.      'I'n  bee  briefe.  uenlleinen,  rooine  tor  a  soul 
.ind  a  sailer,  that   skives  yon  the  tinits  of  his  labors  that   he   \\rote  in 
ocean,  wlu're  eveiie  line  was  wet  with  a  snr^c.  and  every  linmon  >ns 
sion  coiinterclu-i-kt  with   a  stonne.      // '  \-i>it  lik<   it,  so  ;    and  yet   I  \\ill 
yours  in  dnetie,  if  you  be  mine  in  favour."      Tieek  believed  that  the  t 


120  NOTES. 

was  meant  as  a  reply  to  Ben  Jonson's  criticisms  on  the  loose  and  irregu- 
lar style  of  Shakespeare's  comedy,  and  that  it  was  suggested  by  the  fol- 
lowing passage  in  the  Epilogue  to  Cynthia**  Re-eels: 

"  1  Ml  only  s[>eak  what  I  have  heard  him  say, 
'  l!y  • 't  is  good,  and  if  you  like  't  you  may.'  " 

Ulrici  sees  in  it  a  reference  to  the  meaning  and  spirit  of  the  play  itself, 
In  summing  up  his  argument,  he  says  :  "  In  fact,  all  do  exactly  what  and 
as  they  please  ;  each  gives  himself  or  herself  up,  in  unbridled  wilfulness, 
to  good  or  evil,  according  to  his  or  her  own  whims,  moods,  or  impulses, 
whatever  the  consequences  may  prove  to  be.  Each  looks  upon  and 
turns  and  shapes  life  as  it  pleases  him  or  her.  .  .  .  It  is  a  life  such  as 
not  only  must  please  the  dramatic  personages  themselves,  but  would 
please  every  one,  were  such  a  life  only  possible  ;  it  is  the  poetic  reflex 
of "a  life  iis yon  like  it,  light  and  smooth  in  its  flow,  unencumbered  by  se- 
rious tasks,  free  from  the  fetters  of  definite  objects,  and  from  intentions 
difficult  to  realixe  ;  an  amusing  play  of  caprice,  of  imagination,  and  of 
wavering'sensations  and  feelings.''* 

The  following  extracts  from  Lodge's  novelf  include  the  parts  chiefly 
used  by  Shakespeare : 

["Sir  John  of  liurdeaux,"  on  his  death-bed,  calls  his  three  sons,  Sala- 
dyne,  Fernandine,  and  Rosader,  and  divides  his  estate  among  them.  To 
Saladync  he  gives  "fourteene  ploughlands,"  with  his  "  mannor  houses  and 
richest  plate;"  to  Fernandine,  "  twelve  ploughlands;''  and  to  Rosader, 
his  horse,  armour,  and  lance,  "  with  sixteene  ploughlands.''] 

Saladyne,  "after  a  months  mourning  \v;is  past,  fel  to  consideration  of 
his  fathers  testament  ;  how  hee  had  bequeathed  more  to  his  yoonger 
brothers  than  himsclfc.  that  Rosader  was  his  father?  darling,  but  now 
under  his  tuition,  that  as  yet  they  were  not  come  to  yeares,  and  he  being 
their  gardian,  might,  if  not  defraud  them  of  their  due,  yet  make  such 
havocke  of  theyr  legacies  and  lands,  as  they  should  be  a  great  deal  the 
lighter  :  whereupon  he  began  thus  to  meditate  with  himselfe.  .  .  . 

"Thy  brother  is  yoong,  keepe  him  now  in  awe;  make  him  not  chf.cke 
mate  with  thy  sclfe,  for, — 'Nimia  familiaritas  cor.temptum  parit.' 
Let  him  know  litle.  so  shall  he  not  be  able  to  execute  much  : 
supprcsse  his  wittes  with  a  base  estate,  and  though  hec  be  a  gentleman 
by  nature,  yet  forme  him  anew,  and  make  him  a  peasant  by  nourture. 
So  shall  thou  keepe  him  as  a  slave,  and  raigne  thy  selfe  sole  lord  over 
all  thy  fathers  possessions.  As  for  Kernandyne,  thy  middle  brother,  he 
is  a  scholler  and  hath  no  mimic  but  on  Aristotle  :  let  him  reade  on  Galen 
while  thou  ritlest  with  guide,  and  pore  on  his  booke  whilest  thou  doest 
purchase  lamles  :  witte  is  great  wealth  ;  it  he  have  learning  it  is  enough, 
and  so  let  all  rest. 

"  In  tliis  humour  was  Saladyne,  making  his  brother  Rosader  his  foote 
boy  tor  the  space  of  two  or  three  yeares,  keeping  him  in  such  servile 
subjection,  as  it  he  had  In  en  the  soiiue  of  any  country  vassal.  The  young 

*  .SV/.j/r.s/V^n-V  Itntnintic  Aft.  \(\  cd.,  trans.  l>v  I..  I).  Si  limit/,  i  London,  1870),  vi.l. 
il.  J).  I'''. 

t  We  take  these  from  Hallivvell.  who  reprint*  the  novel  m  full  in  his  folio  ed.  \\'c 
ii.5t.Tt  the  paragraphs  in  brackets  to  supply  the  i;.ips  MI  the  narrative. 


INTRODUCTION.  I  2  i 

gentleman  bare  all  with  patience,  til  on  a  day,  walking  in  the  garden  by 
nimselfe,  he  began  to  consider  how  he  was  the  sonne  of  John  of  liour- 
deaux,  a  knight  renowmed  for  many  victories',  and  a  gentleman  famozcd 
for  his  vertnes ;  how,  contrarie  to  the  testament  of  his  father,  hce  wa.s 
not  only  kept  from  his  land  and  intreated  as  a  servant,  but  smothered  in 
such  secret  slaverie,  as  hee  might  not  attaine  to  any  honourable  actions. 
Alas,  quoth  hee  to  himselfc,  nature  woorking  these  effect  nail  passions, 
why  should  I,  that  am  a  gentleman  borne,  passe  my  time  in  such  unnat- 
ural drudgery?  were  it  not  better  either  in  Paris  to  become  a  scholler,  or 
in  the  court  a  courtier,  or  in  the  field  a  souldier,  then  to  live  a  foote  box- 
to  my  own  brother?  nature  hath  lent  me  xvit  to  conceive,  but  my  brother 
denies  mee  art  to  contemplate  :  I  have  strength  to  performe  any  honor- 
able exployt,  but  no  libertie  to  accomplish  my  vertuous  indevours  :  those 
good  partes  that  God  rath  bestowed  upon  mee,  the  envy  of  my  brother 
doth  smother  in  obscuritie  ;  the  harder  is  my  fortune,  and  the  more  his 
frowardnes.  \Vith  that,  casting  up  his  hand  he  felt  haire  on  his  face, 
and  perceiving  his  beard  to  bud,  for  choler  hee  began  to  blush,  and  swore 
to  himselfc  he  xvould  be  no  more  subject  to  such  slaverie.  As  he  was 
thus  ruminating  of  his  melancholic  passions  in  came  Saladyne  with  his 
men,  and  seeing  his  brother  in  a  broxvne  study,  and  to  forget  his  xvonted 
reverence,  thought  to  shake  him  out  of  his  dumps  thus.  Sirha,  quolh 
he,  what  is  your  heart  on  your  halfepeny,  or  are  you  saying  a  dirge  for 
your  fathers  soule  ?  what,  is  my  dinner  readie?  At  this  question  Rosa- 
der,  turning  his  head  ascance,  and  bending  his  browcs  as  if  anger  there 
had  ploughed  the  furroxves  of  her  wrath,  xvith  his  eyes  full  of  fire,  hce 
made  this  replie.  Doest  thou  aske  mee,  Saladyne,  for  thy  cates  ?  askc- 
some  of  thy  churlcs  xvho  are  fit  for  suche  an  office  :  I  am  thine  equal  by 
nature,  though  not  by  birth,  and  though  thou  hast  more  cardes  in  thy 
bunch,  I  have  as  many  trumpcs  in  my  handcs  as  thy  selfe.  Let  me  ques- 
tion xvith  thee,  xvhy  thou  hast  feld  my  xvoods,  spoyled  my  manner  houses, 
and  made  havocke  of  Miche  utensalles  as  my  father  bequeathed  unto 
mee?  I  tell  thee,  Saladyne,  either  answere  mee  as  a  brother,  or  I  xvil 
trouble  thee  as  an  encmie.  At  this  replie  of  Rosaders  Saladyne  smiled, 
as  laughing  at  his  presumption,  and  froxvned  as  checking  his  folly  :  he 
therfore  tooke  him  u]>  thus  shortly  :  What,  sirha,  xvel  I  see  early  prick* 
the  tree  that  xvil  proove  a  thojne  :  hath  my^familiaj'  conversing  xvith  on 
made  you  coy,  or  my  good  lookes  drawne  you  to  be  thus  contemptuous? 
I  can  quickly  remedie  such  a  fault,  and  I  xvil  bend  the  tree  while  it  is 
a  wand.  In  faith,  sir  boy,  I  have  a  snattle  for  such  a  headstrong  colt. 
You,  sirs,  lay  hoUle  on  him  and  bindc  him.  and  then  I  xvil  give  him  a 
cooling  carde  for  his  choller.  This  made  Rosader  halle  mad.  that  st'-p- 
ping  to  a  great  rake  that  stood  in  the  garden,  hee  laidc  such  loade  nppon 
his  brothers  men  that  hce  hurt  some  of  them,  and  made  the  rest  of  them 
run  away.  Saladyne  seeing  Rosader  so  resolute,  and  with  his  resolution 
so  valiant,  thought  his  heeles  his  best  safe-tic,  and  tooke  him  to  a  loatt  ad- 
joyning  to  the  garden,  whether  Rnsadcr  pur-ued  him  Imtlv.  Saiaditu-. 
atraide  ot  his  brothers  lurie.  cried  out  to  him  thus:  Rosader,  be  not  so 
rash  :  I  am  thy  brother  anil  thine  elder,  and  if  I  have  done  thee  wrong 
ile  make  thee  amcndcs.  .  .  . 


122  NOTES. 

"These  wordcs  appeased  the  chollcr  of  Rosader,  for  he  was  of  a  milde 
and  curteous  nature,  so  tliat  liee  laycle  downe  his  weapons,  and  upon  the 
faith  of  a  gentleman  assured  his  brother  lice  would  offer  him  no  preju- 
dice :  whereupon  Saladyne  came  down,  and  after  a  little  parley,  they  ini- 
brnced  cache  other  and  became  friends.  .  .  .  Thus  continued  the  pad 
hidden  in  the  strawe,  til  it  chaunced  that  Torismond,  king  of  France,  had 
appointed  for  his  pleasure  a  day  of  wrastling  and  of  tournament  to  busic 
his  commons  heades,  least,  being  idle,  their  thoughts  should  runne  uppon 
more  serious  matters,  and  call  to  remembrance  their  old  banished  king. 
A  champion  there  was  to  stand  against  all  commers,  a  Norman,  .1  man 
of  tall  stature  and  of  great  strength  ;  so  valiant,  that  in  many  such  con- 
flicts he  alwaies  bare  away  the  victorie,  not  onely  overthrowing  them 
which  hce  incountred,  but  often  with  the  weight  of  his  bodie  killing 
them  outright.  Saladyne  hearing  of  this,  thinking  now  not  to  let  the 
ball  fal  to  the  ground,  but  to  take  opportutlitie  by  the  forehead,  first  by 
secret  mcanes  convented  with  the  Norman,  and  procured  him  with  rich 
rewards  to  sweare,  that  if  Rosader  came  within  his  clawes  hee  would 
never  more  returne  to  quarrel  with  .Saladyne  for  his  possessions.  The 
Norman  desirous  of  pclfe,  as,  ijnis  nisi  mentis  inofis  oblatttm  rcspnit  an- 
ntm,  taking  great  gifts  for  litle  gods,  tooke  the  crownes  of  Saladyne  to 
performe  the  stratagem.  Having  thus  the  champion  tied  to  his  vila- 
nous  determination  by  oath,  hee  prosecuted  the  intent  of  his  purpose  thus  : 
—  He  went  to  yoong  Rosader,  who  in  all  his  thoughts  reacht  at  honour, 
and  gazed  no  lower  then  vertue  commanded  him,  and  began  to  tel  him 
of  this  tournament  and  wrastling,  how  the  king  should  bee  there,  and  all 
the  chicle  pceres  of  France,  with  all  the  beautiful  damosels  of  the  coun- 
trcy.  Now,  brother,  quoth  hee,  for  the  honor  of  Sir  John  of  Bourdcaux, 
our  renowmed  father,  to  famous  that  house  that  never  hath  bin  found 
without  men  approoved  in  chiva'.ric,  shewc  thy  resolution  to  be  percmp- 
torie.  For  myselfe  thou  knowest,  though  I  am  eldest  by  birth,  yet  never 
having  attempted  any  deedes  of  armes,  I  am  yongest  to  perforrne  any 
martial  cxploytcs,  knowing  better  how  to  survey  my  lands  then  to  charge 
my  launce  :  my  brother  Fernandyne  hce  is  at  Paris  poring  on  a  fewe 
papers,  having  more  insight  into  sophistrie  and  principles  of  philosophic, 
then  anie  warlyke  indevcurs  ;  but  thou,  Rosader,  the  youngest  in  yeares 
but  the  eldest  in  valour,  art  a  man  of  strength,  and  darest  cloo  what 
honour  allowes  tliee.  Take  thou  thy  fathers  launce,  his  sword,  and  his 
horse,  and  hyc  thee  to  the  tournament,  and  either  there  valiantly  cracke 
a  spearc,  or  trie  with  the  Norman  for  the  palme  of  activitic.  The  words 
of  Saladyne  were  but  spurres  to  a  free  horse,  for  hee  had  scarce  uttered 
them  ere  Kosader  tooke  him  in  his  armes,  taking  his  proffer  so  kindly, 
that  hee  promised  in  what  hce  might  to  requite  his  curtesie.  .  .  . 

"J!ut  leaving  him  so  desirous  of  the  journey,  turn  we  to  Torismond, 

the  king  of  France,  who  having  by  force  banished  (Jerismond, 

their  lawful  king,  that  lived  as  an  outlaw  in  the  forest  of  Arden, 

sought  now  by  all  mcanes  to  keep  the  French  busied  with  all  sports  lift 

might  breed   their   content.      Among>t   the    rest   he   had    appointed   this 

solemne  turnamcnt,  wherunto  hee   in   most  solemne  maner  resorted,  ar- 

companied  with   the  twelve   peers  ot   Fr;vnce,  who,  rather  lor  tear  then 


INTRODUCTION 


'-3 


Jove,  graced  him  with  the  shew  of  their  dutiful  favours.  To  fcede  their 
eyes,  and  to  make  the  beholders  pleased  with  the  sight  of  most  rare  and 
glistring  objects,  he  had  appoynted  his  owne  daughter  Alinda  to  be  there, 
and  the  .fair  Kosalynd,  daughter  unto  Gerismond,  with  al  the  beautiful! 
dammoselles  that  were  famous  for  their  features  in  all  France.  .  .  . 

"  At  last  when  the  tournament  censed,  the  wrastling  begannc,  and  the 
Norman  presented  himselfe  as  a  chalenger  against  all  commers,  but  hee 
looked  lyke  Hercules  when  he  advaunst  himselte  agaynst  Acheloiis,  so 
that  the  furie  of  his  countenance  amazed  all  that  durst  attempte  to  in- 
counter  with  him  in  any  deed  of  activitie  :  til  at  last  a  lustie  Francklin 
of  the  country  came  with  two  tall  men,  that  were  his  sonnes,  of  good 
lyniaments  and  comely  personage:  t'le  eldest  of  these,  dooing  his  obey- 
sance  to  the  king,  entered  the  lyst,  and  presented  himselte  to  the  Nor- 
man,  who  straight  coapt  with  him,  anil  as  a  man  that  would  triumph  in 
the  glorie  of  his  strength,  roused  himselfe  with  such  furie,  that  not  onely 
hee  gave  him  the  fall,  but  killed  him  with  the  weight  of  his  corpulent 
personage  ;  which  the  yoonger  brother  seeing,  lepie  presently  into  the 
place,  and  thirstie  after  the  revenge,  assayled  the  Norman  with  such 
valour,  that  at  the  first  incouiiter  hee  brought  him  to  his  knees  :  wr>u  h 
repulst  so  the  Norman,  that  recovering  himselfe,  feare  of  disgrace  doub- 
ling his  strength,  hee  slept  so  stearncly  to  the  yoong  Francklin,  that 
taking  him  up  in  his  armes  hee  threw  him  against  the  grounde  so 
violently,  that  hee  broake  his  necke,  and  so  ended  his  dayes  with  his 
brother.  .  .  . 

"  \Vith  that  Rosader  vailed  bonnet  to  the  king,  and  lightly  leapt  within 
the  lists,  where  noting  more  the  companie  then  the  combatant,  he  cast 
his  eye  upon  the  troupe  of  ladies  that  glistered  there  lyke  the  starrcs  of 
heaven;  but  at  last  Love  willing  to  make  him  as  amourous  as  hee  was 
valiant,  presented  him  with  the  sight  of  Rosalynd,  whose  admirable 
beauty  so  inveagled  the  eye  of  Rosader,  that  forgetting  himselte,  hee 
stood  and  fedilc  his  lookes  on  the  favour  of  Rosalyndcs  face  ;  which  slice 
perceiving,  blusht,  whicli  was  such  a  doubling  of  her  beauteous  excel- 
lence, that  the  bashful  reticle  of  Aurora  at  the  sight  of  unacquainted  Phae- 
ton was  not  halfe  so  glorious.  The  Normane,  seeing  this  young  gentle- 
man fettered  in  the  lookes  of  the  ladyes,  drave  him  out  of  his  memento 
with  a  shake  by  the  shoulder.  Rosader  looking  backe  with  an  angrie 
frowne,  as  if  hee  had  been  wakened  from  some  pleasaunt  dreame,  dis- 
covered  to  all  by  the  furye  of  his  countenance  that  lice  was  a  man  of 
some  high  thoughts  :  but  when  they  all  noted  his  youth,  and  the  sweet- 
nesse  of  his  visage,  with  a  general  applause  of  favours,  they  grieved  that 
so  goodly  a  yoong  man  should  venture  in  so  base  an  action  :  but  seeing 
it  were  to  his  dishonour  to  hinder  him  from  his  enterprise,  they  wisht 
him  to  bee  graced  with  the  palme  of  victorie.  Alter  Rosader  was  thus 
called  out  of  his  memento  by  the  Norman,  he  roughly  clapt  to  him  with 
so  fierce  an  incounter,  that  they  both  t'el  to  the  ground,  and  with  the  vio- 
lence of  the  lal  were  forced  In  birathc  :  in  whirl)  spare  the  Norman 
called  to  minde  by  all  tokens,  that  this  wa>  hee  \\  home  Saladyne  had  ap- 
poynted him  to  kil  :  which  conjecture  made  him  >tretch  every  limbe, 
and  try  every  sinew,  thai  working  hi;?  death  hee  might  recover  the  golde 


124 


A'OTES. 


which  so  bountifully  was  promised  him.  On  the  contrary  part.  Rosader 
while  he  breathed  was  not  idle,  but  stil  cast  his  eye  upon  Rosalynde, 
who  to  incouragc  him  with  a  favour,  lent  him  such  an  amorous  looke,  as 
might  have  made  the  most  coward  desperate  :  which  glance  of  Rosalynd 
so  fiercd  the  passionate  desires  of  Rosader,  that  turning  to  the  Norman, 
hee  ranne  upon  him  and  braved  him  with  a  strong  encounter.  The 
Norman  received  him  as  valiantly,  that  there  was  a  sore  combat,  hard 
to  judge  on  whose  side  fortune  would  be  prodigal.  At  last  Rosader, 
calling  to  minde  the  beautie  of  his  new  mistresse,  the  fame  of  his  fathers 
honours,  and  the  disgrace  that  should  fal  to  his  house  by  his  misfortune, 
rowsed  himselfe,  and  threw  the  Norman  against  the  ground,  falling  uppon 
his  chest  with  so  willing  a  weight,  that  the  Norman  yielded  nature  her 
due,  and  Rosader  the  victorie."  .  .  . 

Torismond  "thought  to  banish  her  [Rosalynd]  from  the  court:  for, 
quoth  he  to  himselfe,  her  face  is  so  ful  of  favour,  that  it  pleadcs 
pittie  in  the  eye  of  every  man  :  her  beauty  is  so  heavenly  and  de- 
vine,  that  she  wil  prove  to  me  as  Helen  did  to  Priam  :  some  one  of  the 
peeres  wil  ayme  at  her  love,  end  the  marriage,  and  then  in  his  wives 
right  attempt  the  kingdome.  To  prevent  therefore  had-I-wist  in  nil 
these  actions,  shee  tarryes  not  about  the  court,  but  shall,  as  an  exile, 
eyther  wander  to  her  father,  or  else  seeke  other  fortunes.  In  this  hu- 
mour, with  a  sterne  countenance  ful  of  wrath,  he  breathed  out  this  cen- 
sure unto  her  before  the  peers,  that  charged  her  that  that  night  shee  were 
not  scene  about  the  court :  for,  quoth  he,  I  have  heard  of  thy  aspiring 
speeches,  and  intended  treasons.  This  doomc  was  strange  unto  Rosa- 
lynd, and  presently  covrccl  with  the  shield  of  her  innocence,  she  boldly 
brake  out  in  reverent  tcarms  to  have  cleared  herself;  but  Torismond 
would  admit  ot  no  reason,  nor  durst  his  lords  plead  tor  Rosalynd,  al- 
though her  beauty  had  made  some  of  them  passionate,  seeing  the  figure 
of  wrath  pourtrayed  in  his  brow.  Standing  thus  all  mute,  and  Rosalynd 
amazed,  Alinda,  who  loved  her  more  than  herself,  with  grief  in  her  hart 
and  teares  in  her  eyes,  falling  down  on  her  knees,  began  to  intreat  her 
father  thus." 

[Then  follows  "  Alindas  Oration  to  her  Father  in  Defence  of  fa  ire 
Rosalynde,"  the  result  of  which  is  that  Alinda  is  included  in  the  sentence 
against  Rosalynd.] 

"  At  this  Rosalynd  began  to  comfort  her,  and  after  shee  had  wept  a 
fewe  kinde  teares  in  the  bosome  of  her  Alinda,  .  .  .  they  sat  them  downc 
to  consult  how  they  should  travel.  Alinda  grieved  at  nothing  but  that 
they  might  have  no  man  in  their  company,  saying,  it  would  bee  their 
greatest  prejudice  in  that  two  women  went  wandring  without  either  guide 
or  attendant.  Tush,  quoth  Rosalynd,  art  thou  a  woman,  and  hast  not  a 
sodeinc  shift  to  prevent  a  misfortune?  I,  thou  seest,  am  ot  a  tall  stature, 
and  would  very  wel  become  the  person  and  apparel  of  a  page  :  thou 
shall  bee  my  mistresse,  and  1  wil  play  the  man  so  properly,  that,  trust  me, 
in  what  company  so  ever  I  come  I  \\il  not  be  discovered.  I  wil  buv  me 
a  suite,  and  have  my  rapier  very  liaudsomly  at  my  side,  and  it  any  knave 
oiler  w ron u.  your  page  will  shew  him  the  poynt  ol  his  weapon.  At  this 
Aliud.i  sini'cd,  and  upon  this  they  agreed,  and  piesently  gathered  up  al 


INTRODUCTION 


125 


their  jewels,  which  they  trussed  up  in  a  casket,  and  Rnsalynd  in  all  hast 
provided  her  of  robes,  and  Alinda,  from  her  royall  wecdes,  put  hersclfc 
in  more  homelie  attire.  Thus  fitted  to  the  pin  pose,  away  51  oe  ther>e  two 
friends,  having  now  changed  their  names,  Aliiui.t  l)cing  called  Aliena,  and 
Kosalynd  Cianimcdc,  they  travelled  along  the  vineyardes,  and  by  many 
by-waies,  at  last  got  to  the  forrest  side,  where  they  travelled  by  the  space 
of  two  or  three  dayes  without  seeing  anye  creature,  being  often  in  danger 
of  wilde  beasts,  and  payned  with  many  passionate  sorrowes."  .  .  . 

[They  found  verses  written  on  the  trees,  but  they  were  the  "pas- 
sion "  of  Montanus,  the  Siivius  of  Shakespeare  ;  and  then  they  continued 
their  journey  until  "comming  into  a  faire  valley,  compassed  with  mount- 
aines,  whereon  grew  many  pleasaunt  shrubbes,  they  might  dcscrie  where 
two  rlockes  of  sheepe  did  feed."] 

"  Then,  looking  about,  they  might  perceive  where  an  old  shepheard 

Ij  [Montanus]  sate,  and  with  mm  ;.  yoong  swaine  [Coridon],  under 

a  covert  most  pleasantly  scituated.  .  .  . 

"  The  shepheards  having  thus  ended  their  Kglogue,*  Aliena  slept 
with  (janimede  from  behind  the  thicket  ;  at  whose  sodayne  sight  the 
shepheards  arose,  and  Aliena  saluted  them  thus:  Shepheards,  all  haile, 
for  such  wee  deeme  you  by  your  flockes,  and  lovers,  good  lucke,  for 
such  you  seeme  by  your  passions,  our  eyes  being  witnesse  of  the  one,  and 
our  cares  of  the  other.  Although  not  by  love,  yet  by  fortune,  I  am  a  dis- 
tressed gentlewoman,  as  sorrowtull  as  you  are  passionate,  and  as  kill  ot 
woes  as  you  of  perplexed  thoughts.  \Yandiing  this  way  in  a  foircst  un- 
known, onely  I  and  my  page,  wearied  with  travel,  would  faine  have  some 
place  of  rest.  May  you  appoint  us  any  place  of  quiet  harbour,  be  it 
never  so  meanc,  I  shall  bee  thankful!  to  you,  contented  in  my  selfe,  and 
grateful!  to  whosoever  shall  be  mine  host.  Coridon,  hearing  the  gentle- 
woman speake  so  courteously,  returned  her  mildly  and  reveiently  this 
inswere. — Faire  mistresse,  wee  returne  you  as  hearty  a  welcome  as  you 
gave  us  a  courteous  salute.  A  shepheard  I  am.  and  this  a  lover,  as 
watchful  to  please  his  wench  as  to  feed  his  sheep  :  fill  of  fancies,  and 
therefore,  say  I,  full  of  follyes.  Kxhort  him  I  may.  but  pcrswadc  him  I 
cannot  ;  tor  love  admits  neither  ot  counsaile  nor  reason.  Hut  leaving 
him  to  his  passions  if  you  be  distre.-t,  1  am  sorrowful!  such  a  fa  ire- 
creature  is  cro.-t  with  ca'lamitie  :  pray  for  you  I  may,  but  releeve  you  I 
cannot.  Marry,  if  you  want  lodging,  if  you  vouch  to  shrowd  your  selves 
in  a  shepheards  cottage,  my  house  for  this  night  shall  he  your  harbou>\ 
Aliena  thankt  Coridon  greatly,  and  presently  sate  her  downe  and  (lani 
niedc  by  hir,  Corid<>n  looking  earnestly  upon  her,  and  with  a  curious 
survey  viewing  all  her  perlections  applauded,  in  his  thought,  her  excel- 
lence, and  pitying  her  distresse  was  desirous  to  heare  the  cause  of  her 
misfortunes,  began  to  question  with  her  tliii*.  —  It  I  should  not,  faire 
I)amosell,  occasionate  ottence.  or  renew  your  griets  by  rubbing  the  scat, 
I  wou.d  laine  crave  so  mm  h  l.ivour  as  to  know  the  cause  ot  your  mis- 
toi  tunes,  and  why,  and  whither  you  \\ander  with  vour  page  in  so  danger- 
ous forest?  Aliena.  that  was  as  courteous  as  she  was  f.ivre.  made  this 


I26  NOTES. 

rcplie.  Shcphcarcl,  a  friendly  demaund  ought  never  to  he  offensive,  and 
questions  of  curtesie  carry  priviledgcd  pardons  in  their  forheads.  Know, 
therefore,  to  discover  my  fortunes  were  to  renew  my  sorrowes,  and  I 
should,  by  discoursing  my  mishaps,  but  rake  fire  out  of  the  cyiulers. 
Therefore  let  this  suffice,  gentle  shephenrd  :  my  distress  is  as  great  as 
my  travaile  is  dangerous,  and  I  wander  in  this  forrest  to  light  on  some 
cotage  where  I  and  my  page  may  dwell  :  for  I  meane  to  buy  some  farme, 
and  a  flocke  of  shcepe,  and  so  become  a  shepheardesse,  meaning  to  live 
low,  and  content  mee  with  a  cotmtrey  life  ;  for  I  have  heard  the  swaints 
save,  that  they  drunke  without  suspition,  and  slept  without  care.  Marry, 
mistress,  quoth  Condon,  if  you  meane  so  you  came  in  good  time,  for  my 
landlord  intends  to  sell  both  the  farme  I  lyll,  and  the  flocke  I  keepe, 
and  cheape  you  may  have  them  for  ready  money  :  and  for  a  shcpheards 
life,  oh  mist  res,  did  you  but  live  a  while  in  thei.  content,  you  would  say 
the  court  were  rather  a  place  "f  sorrow  then  of  solace.  Here,  mistresse, 
shal  not  fortune  thwart  you,  but  in  mean  misfortunes,  as  the  losse  of  a 
few  shcepe.  which,  as  it  breedes  no  bcggcry,  so  it  can  bee  no  extreame 
prejudice,  the  next  yeare  may  mend  all  with  a  fresh  increase.  Envy 
stirres  not  us,  we  covet  not  to  climbe,  our  desires  mount  not  above  our 
degrees,  nor  our  thoughts  above  our  fortunes.  Care  cannot  harbour  in 
our  cottages,  nor  doe  our  homely  couches  know  broken  slumbers  :  as 
wee  exceed  not  in  dyet,  so  we  have  inough  to  satisfie  :  and,  mistresse,  I 
have  so  much  Latin,  satis  est  quod  snffieit.  l!y  my  troth,  shephcard,  quoth 
Alicna,  thou  makest  mee  in  love  with  thy  countrey  life,  and  thciiore 
send  for  thy  landsloid,  and  I  will  buy  thy  farme  and  thy  flocks,  and  thou 
shait  still  under  me  bee  overseer  of  them  both  :  oncly  for  pleasure  sake 
I  and  my  page  will  serve  you,  lead  the  flocks  to  the  field  and  folde  them. 
Thus  will  I  live  quiet,  unknowne.  and  contented.  This  newcs  so  gladded 
the  hart  of  Condon,  that  he  should  not  be  put  out  of  his  farme,  that  put- 
ting off  his  shcpheards  bonnet,  he  did  hir  all  the  reverence  that  he  might. 
P>ut  all  this  while  sate  Montanus  in  a  muse,  thinking  of  the  crucltie  of 
his  Phoebe,  whom  he  wooed  long,  but  was  in  no  hope  to  win.  Gani- 
mede,  who  stil  had  the  remembrance  of  Kosadcr  in  his  thoughtes,  tooke 
delight  to  see  the  poore  shephcard  passionate,  laughing  at  love,  that  in 
all  his  actions  was  so  imperious.  At  last,  when  she  had  noted  his  teares 
that  stole  down  his  cheeks,  and  his  sighcs  that  broke  from  the  center 
of  his  heart,  pittying  his  lament,  she  demanded  of  Condon  why  the 
yong  shepheard  looked  so  sorrowful  ?  ( )h  sir,  quoth  he,  the  boy  is  in 
love.  .  .  . 

"  With  this  they  were  at  Coridon's  cottage,  where  Montanus  parted 
from  them,  and  they  went  in  to  rest.  Alicna  and  (lanimedc,  glad  of  so 
contented  a  shelter,  made  merry  with  the  poorc  swainc  ;  and  though 
they  had  but  countrey  fare  and  course  lodging,  yet  their  welcome  was  so 
greate,  and  their  cares  so  little,  that  they  counted  their  diet  delicate,  and 
slept  as  soundly  as  if  they  hail  beene  in  the  court  of  Torismond.  The 
next  morne  they  lay  long  in  bed.  as  wearved  with  the  toylc  ol  unaccus- 
tomed travaile  ;  but  assoone  as  they  got  up,  Alicna  resolved  there  to  set 
up  her  rest,  and  by  the  helpe  of  Coridon  swapt  a  bargaine  with  his  lands- 
lord,  and  so  became  misires  of  the  farme  and  the  lltuke,  her  selfe  pilting 


127 

on  the  attyre  of  a  shepherdes.se,  and  Ganimede  of  a  yong  swaine  :  everye 
ciay  leading  foorth  her  flockes,  with  such  delight,  that  she  held  her  exile 
happy,  and  thoght  no  content  to  the  blisse  of  a  countrey  cottage."  .  .  . 

[Meanwhile  Kosader,  driven  from  home  by  the  harshness  of  his 
brother,  takes  with  him  his  father's  old  servant,  Adam  Spencer,  and 
makes  for  the  forest  of  Arden.] 

"  But  Kosader  and  Adam,  knowing  full  well  the  secret  waies  that  led 

..  through  the  vineyards,  stole  away  privily  through  the  province 
of  Bourdeaux,  and  escaped  safe  to  the  forrest  of  Arden.  Being 
come  thethcr,  they  were  glad  they  had  so  good  a  harbor :  but  fortune, 
who  is  like  the  camelion,  variable  with  every  object,  and  constant  in 
nothing  but  inconstancie,  thought  to  make  them  myrronrs  of  her  muta- 
bilitie,  and  therefore  still  crost  them  thus  contrarily.  Thinking  still  to 
passe  on  by  ihe  bywaies  to  get  to  Lions,  they  chanced  on  a  patli  that  led 
into  the  thicke  of  the  forrest,  where  they  wandrcd  five  or  sixe  dayes  witn- 
out  meate,  that  they  were  almost  famished,  finding  neither  shepheard  nor 
cottage  to  relieve  them  ;  and  hunger  growing  on  so  extreame,  Adam 
Spencer,  being  oldc,  began  to  faint,  and  sitting  him  downe  on  a  hill,  and 
looking  about  him,  espied  where  Kosader  lave  as  feeble  and  as  ill  per- 
plexed :  winch  sight  made  him  shedcle  tcares.  .  .  . 

"As  he  was  readie  to  go  forward  in  his  passion,  he  looked  earnestly  on 
Kosader,  and  seeing  him  chaunge  colour,  hee  rose  up  and  went  to  him, 
and  holding  his  temples,  said,  What  cheerc,  maister?  though  all  faile, 
let  not  the  heart  taint  :  the  courage  of  a  man  is  shewed  in  the  resolution 
of  his  death.  At  these  wordes  Kosader  lifted  up  his  eye,  and  looking  on 
Adam  Spencer,  began  to  weep.  Ah,  Adam,  quoth  he,  1  sorrow  not  to  dye, 
but  I  grieve  at  the  maner  of  my  death.  Might  I  with  my  launce  encoun- 
ter the  enemy,  and  so  die  in  the  field,  it  were  honour,  and  content  :  might 
I,  Adam,  combate  with  some  wilde  beast,  and  perish  as  his  praie,  I  were 
satisfied  ;  but  to  die  with  hunger,  (),  Adam,  it  is  the  extreamest  of  all  ex- 
treames  !  Maister,  quoth  he,  you  see  we  are  both  in  one  predicament, 
and  long  I  cannot  live  without  meate  ;  seeing  therefore  we  can  finde  no 
foode,  let  the  death  of  the  one  preserve  the  life  of  the  other.  I  am  old, 
and  overwornc  with  age,  you  are  yoong,  and  are  the  hope  of  many  hon- 
ours :  let  me  then  dye,  I  will  presently  cut  my  veynes.  and,  maister,  with 
the  warme  blood  relieve  your  fainting  spirites:  sucke  on  that  til  I  ende, 
and  you  be  comforted.  With  that  Adam  Spencer  was  ready  to  pull  out 
his  knife,  when  Kosader,  lull  of  courage,  though  verie  faint,  rose  up,  and 
wisht  Adam  Spencer  to  sit  there  til  his  returne  ;  for  my  mind  gives  me, 
quoth  he,  that  I  shall  bring  thce  meate.  With  that,  like  a  mad  man,  he 
rose  up,  and  raunged  up  ami  downe  the  woods,  seeking  to  encounter  sonic 
wilde  beast  with  his  rapier,  that  either  he  might  carry  his  friend  Adam 
food,  or  else  pledge  his  life  in  pawn  for  his  loyaltie.  It  chaunced  that 
day,  that  Gerismond,  the  lawful!  king  of  France  banished  by 
7'  Torismond,  who  with  a  lustie  crue  of  oullawes  lived  in  that 
forest,  that  day  in  honour  of  his  birth  made  a  least  to  all  his  bolde  yeo- 
men, and  froliekt  it  with  store  of  wine  and  venison,  sitting  all  at  a  long 
table  under  the  shadow  of  lymon  trees.  To  that  place  by  chance  tor- 
time  conducted  Kosader,  who  seeing  such  a  crue  of  brave  men,  having 


I28  AOTES. 

store  of  that  for  want  of  which  hee  and  Adam  perished,  hce  stcpt  boldly 
to  the  boords  end,  and  saluted  the  company  thus: — Whatsoever  them 
he  that  art  maister  of  these  lustie  squiers,  I  salute  thee  as  graciously  as 
a  man  in  extreame  distresse  may :  know  that  I  and  a  fellow  friend  of 
mine  are  here  famished  in  the  forrest  for  want  of  food:  perish  wee  must, 
unlesse  relieved  by  thy  favours.  Therefore,  if  thou  l>e  a  gentleman,  give 
meate  to  men,  and  to  such  men  as  are  everie  way  woorthie  of  life.  Let 
the  proudest  squire  that  sits  at  thy  table  rise  and  incountcr  with  mce  in 
any  honorable  point  of  activitie  whatsoever,  and  if  hee  and  thou  proovc 
me  not  a  man,  send  me  away  comfortlesse.  If  thou  refuse  this,  as  a  nig- 
gard of  thy  cates,  I  will  have  amongst  you  with  my  sword;  for  rather 
wil  I  dye  valiantly,  then  perish  with  so  cowardly  an  extreame.  (icris- 
mond,  looking  him  earnestly  in  the  face,  and  seeing  so  proper  a  gentle- 
man in  so  bitter  a  passion,  was  moved  with  so  great  pitie,  th;.t  rising 
from  the  table,  he  tooke  him  by  the  hand  ami  badde  him  welcome,  will, 
ing  him  to  sit  downe  in  his  place,  and  in  his  roome  not  onely  to  eat 
his  fill,  but  be  lorde  of  the  feast,  (iramercy,  sir,  quoth  Kosader,  but  I 
have  a  feeble  friend  that  lyes  hereby  famished  almost  for  food,  aged  and 
therefore  lesse  able  to  abide  the  extremitie  of  hunger  then  nvy  selfe,  and 
dishonour  it  were  for  me  to  taste  one  crumme,  before  I  made  him  part- 
ner of  my  fortunes  :  therefore  I  will  runnc  and  fetch  him,  and  then  I  wil 
gratefully  accept  of  vour  proffer.  Away  hies  Kosader  to  Adam  Spen- 
cer, and  tels  him  the  newcs,  who  was  glad  of  so  happie  fortune,  but  so 
feeble  he  was  that  he  could  not  go  ;  whci  upon  Kosader  got  him  up  on 
his  backc,  and  brought  him  to  the  place.  Which  when  (ierismond  and 
his  men  saw.  they  greatly  applauded  their  league  of  friendship;  and 
Kosader,  having  Gerismonds  place  assigned  him,  would  not  sit  there 
himselfe,  but  set  downe  Adam  Spencer.  .  .  . 

•'The  flight  of  Kosader  came  to  the  eares  of  Torismond.  who  hearing 

that  Saladyne  was  sole  heire  of  the  landes  of  Sir  John  of  I'.our- 

deaux,  desirous  to  possesse  suche  faire   revcnewes,  found  just 

occasion  to  quarrell  with  Saladyne  about  the  wrongs  he  proffered  to  his 

brother  ;  and  therefore,  dispatching  a  hcrehau'.t,  he  sent  for  Saladyne  in 

all  poast  haste  :  who,  marveiling  what  the  matter  should  be,  began  to 

examine  his  owne  conscience,  wherein  hee  had  olfended  his  highnesse  ; 

but  imboldened  with  his  innocence,  he  boldly  went  with  the  herehault 

unto  the  court  ;  where,  assoone  as  hee  came,  hee  was  not  admitted  into 

the  presence  of  the  king,  but  presently  sent  to  prison.  .  .  . 

"  In  the  depth  of  his  passion,  hee  \v;;s  sent  for  to  the  king,  who,  with  a 
lookc  that  threatened  death  entertained  him,  and  demaunded  of  him 
where  his  brother  was?  Saladyne  made  answer,  that  upon  some  ryot 
made  against  the  sheriffe  of  the  shire,  he  was  th-d  from  Bourdeaux,  but 
'he  kne\v  not  wi.ithcr.  Nay,  villaine,  quoth  he.  I  have  heard  of  the 
wronges  thou  ha.-t  proffered  thy  brother,  since  the  death  of  thy  fathei 
and  bv  thy  means  have  I  lost  a  most  brave  and  resolute  chevalier 
Therefore,  in  justice  to  puni>h  thee,  I  spare  thy  life  for  thy  fathers  sake 
but  banish  thee  for  ever  from  the  court  and  coimtrey  of  France  ;  and  see 
thy  departure  be  within  tenne  dayes,  els  trust  me  thou  shall  loose  thy 
head.  And  with  that  the  king  llew  away  in  a  rage,  and  left  poore  Sala- 


IN'l'KUDUCllUX. 


129 


dyne  (greatly  perplexed  ;  who  grieving  at  his  exile,  yet  determined  to 
bear  it  with  patience,  and  in  penaunce  of  his  former  tollies  to  travaile 
abroade  in  every  coast  lill  he  had  found  out  his  brother  Kosader."  .  .  . 

(Meanwhile,  "  Kosader,  bccing  thus  preferred  to  the  |)!ace  of  a  forrester 
by  (Jerismond,  rooted  out  the  remembrance  of  his  brothers  unkindnes 
by  continuall  exercise,  traversing  the  groves  and  wilde  forrcsts.  .  .  .  Yet 
whatsoever  he  did,  or  howsoever  he  walked,  the  lively  image  of  Kosalyndc 
remained  in  memorie."  At  length  he  meets  Ganimcde  and  Aliena.] 

"Ganimede,  pittying  her  Rosader,  thinking  to  drive  him  out  ot  this 
amorous  melancholy,  said,  that  now  the  sunne  was  in  his  me- 
ridionall  heat,  and  that  it  was  high  noone,  therefore  wee  shep- 
heards  say,  tis  time  to  go  to  dinner  ;  for  the  sunne  and  our  stomackes 
are  shepheards  dials.  '1'herefore,  forrester,  if  tliou  wilt  take  such  fare  as 
comes  out  of  our  homely  scrips,  welcome  shall  answere  whatsoever  thou 
wantest  in  delicates.  Aliena  tooke  the  entertainment  by  the  ende,  and 
tolde  Rosader  hee  should  bee  her  guest.  He  thankt  them  heartily,  and 
sat  with  them  downe  to  dinner,  where  they  had  such  cates  as  countrey 
state  did  allow  them,  sawst  with  such  content,  and  such  sweete  prattle, 
as  it  seemed  farre  more  sweet  than  all  their  courtly  junkets.  Assone  as 
they  had  taken  their  repast,  Kosader,  giving  them  thankes  for  his  good 
cheare,  would  have  been  gone  ;  but  Ganimede,  that  was  loath  to  let  him 
passe  out  of  her  presence,  began  thus  :  Nay,  forrester,  quoth  she,  if  thy 
busines  be  not  the  greater,  seeing  thou  saist  thou  art  so  deeply  in  love, 
let  me  see  how  thou  canst  wooe  :  I  will  represent  Kosalynde,  and  thou 
shall  bee  as  thou  art.  Kosader.  See  in  some  amorous  eglogue,  how  if 
Kosalynd  were  present,  how  thou  conldst  court  her  ;  and  while  we  sing 
of  love,  Aliena  shall  tune  her  pipe  and  plaie  us  melodie.*  .  .  . 

•'And  thereupon,  quoth  Aliena,  He  play  the  priest:  from  this  daye 
forth  Ganimede  shall  call  thee  husband,  and  thou  shah  cal  Ganimede 
wife,  and  so  wcele  have  a  marriage.  Content,  quoth  Kosader,  and  taught. 
Content,  quoth  Ganimede,  and  chaunged  as  red  as  a  rose:  and  so  with  a 
smile  and  a  blush,  they  made  up  this  jesting  match,  that  after  proved  to 
be  a  marriage  in  earnest,  Kosader  full  little  thinking  hee  had  wooed  and 
wonne  his  Kosalynde.  .  .  . 

"All  this  while  did  poore  Saladyne,  banished  from  l!ourdcaux  and  the 
court  of  France  by  Torismond,  wander  up  and  downe  in  the  tor- 
rest  of  Arden,  thinking  to  get  to  Lyons,  and  so  travail  through 
Germany  into  -Italic  :  but  the  forrest  beeing  full  of  by-pathes,  and  he  nn- 
skilfull  of  the  country  coast,  slipt  out  of  the  way,  and  chaunccd  up  into 
the  desart,  not  farre  from  the  place  where  Gerismond  was,  and  his  broth- 
er Kosader.  Saladyne,  wcaiie  with  waiulring  up  and  downe.  and  hungry 
with  long  fasting,  finding  a  little  cave  by  the  side  of  a  thicket,  eating  such 
frnite  as  the  forrest  did  atToord,  and  contenting  himst  lie  with  such  drinko 
as  nature  had  provided  and  thirst  made  delicate,  alter  his  repast  he  fell 
into  a  dead  slcepe.  As  thus  he  lay,  .1  hungry  lyon  came  hunting  downe 
the  edge  of  the  ijrove  for  pray,  and  espying  Saladyne  began  to  eea/e  upon 


'30 


ArOTES. 


him  :  but  seeing  he  lay  still  without  any  motion,  he  left  to  touch  him,  for 
that  lyons  hate  to  pray  on  dead  carkasses  ;  and  yet  desirous  to  have 
some  foode,  the  lyon  lay  downe,  and  \vatcht  to  see  if  he  would  stirre. 
\Vhile  thus  Saladync  slept  secure,  fortune  tliat  was  careful  of  her  cham- 
pion began  to  smile,  and  brought  it  so  to  passe,  that  Kosader,  having 
stricken  a  deere  that  but  slightly  hint  fled  through  the  thicket,  came 
pacing  downe  by  the  grove  with  a  boare-speare  in  his  hande  in  great  haste. 
He  espyed  where  a  man  lay  a  sleepe,  and  a  lyon  fast  by  him  :  amazed  at 
this  sight,  as  he  stoode  gazing,  his  nose  on  the  sodaine  bledde,  which 
made  him  conjecture  it  was  some  friend  of  his.  Whereuppon  drawing, 
more  nigh,  he  might  easily  discerne  his  visage,  perceived  by  his  phis- 
nomie  that  it  was  his  brother  Saladyne,  which  drave  Rosader  into  a  deepe 
passion,  as  a  man  perplexed  at  the  sight  of  so  unexpected  a  chance,  mar- 
velling what  should  drive  his  brother  to  traverse  those  secrete  desarts, 
without  any  com  panic,  in  such  distressed  and  forlorne  sorte.  15ut  the 
present  time  craved  no  such  doubting  ambages,  for  he  must  eythcr  re- 
solve to  hazard  his  life  for  his  reliefe,  or  else  stcale  away,  and  leave  him 
to  the  crueltie  of  the  lyon.  .  .  . 

"  With  that  his  brother  began  to  stirre,  and  the  lyon  to  rowse  himselfe, 
whereupon  Kosader  sodainly  charged  him  with  the  boare  speare,  and 
wounded  the  lion  very  sore  at  the  first  stroke.  The  beast  feeling  him- 
selfe to  have  a  mortal!  hint,  leapt  at  Kosader,  and  with  his  pawes  gave 
him  such  a  sore  pinch  on  the  brest,  that  he  had  almost  lain  ;  yet  as  a 
man  most  valiant,  in  whom  the  sparks  oi  Sir  John  of  lioin deaux  re- 
mained, he  recovered  himselfe,  and  in  short  combat  slew  the  lion,  who  at 
his  death  roared  so  lowd  that  Saladyne  awaked,  and  starting  up,  was 
amazed  at  the  sudden  sight  of  so  monstrous  a  beast  lying  slaine  by  him, 
and  so  sweet  a  gentleman  wounded. 

"  Saladvr.c  casting  up  his  eye,  and  noting  well  the  phisnomy  of  the  for- 
rester,  knew  that  it  was  his  brother  Kosader,  which  made  him  so  bash 
and  blush  at  the  first  meeting,  that  Kosader  was  faine  to  recomfort  him, 
which  he  did  in  siu  h  sort,  that  hee  shewed  how  highly  he  held  revenge 
in  scorne.  Much  ado  there  was  betweene  these  two  brethren,  Saladyne 
in  craving  pardon,  and  Kosadcr  in  forgiving  and  forgetting  all  former  in- 
juries ;  the  one  humble  and  snbmisse,  the  other  milde  and  curtcons  ; 
Saladyne  penitent  and  passionate,  Kosader  kynd  and  loving,  that  at  length 
nature  working  an  union  of  their  thoughts,  they  earnestly  embraced,  and 
fell  from  matters  of  unkindnessc,  to  talke  of  the  country  lite,  which  Ko- 
sader so  highly  commended,  that  his  brother  began  to  have  a  desire  to 
taste  of  that  homely  content.  In  this  humor  Kosader  conducted  him  to 
(leiismonds  lodge,  and  presented  his  brother  to  the  king,  discoursing  the 
whole  matter  how  all  had  hapned  betwixt  them.  .  .  .  Assoone  as  they  had 
taken  their  repast,  and  had  wel  dined,  Kosader  tooke  his  brother  Sala- 
dyne by  the  hand,  anil  shewed  him  the  pleasmcs  of  the  forrest,  and  what 
(ontent  they  enjoyed  in  that  mean  estate.  Thus  tor  two  or  three  dayes 
he  walked  up  and  downe  with  his  brother  to  shew  him  all  the  commodi- 
ties that  belonged  to  his  walke  ;  during  which  time  hee  was  greatlv  mist 
<>t  his  (janvmcdc,  who  mu>cd  mut-h  with  Alicna  what  should  become  of 
their  forrester. 


IN  TROD  UC  TION.  \  3 1 

"  With  this  Ganimedc  start  up,  made  her  ready,  and  went  into  the 
fields  with  Aliena,  where  unfolding  their  flockes,  they  sate  them 
downe  under  an  olive  tree,  both  ot'  them  amorous,  and  yet  di- 
versely affected,  Aliena  joying  in  the  excellence  of  Saladyne,*  and  Gani- 
mede  sorowing  for  the  wounds  of  her  Rosadcr ;  not  quiet  in  thought  till 
shee  might  heare  of  his  health.  As  thus  both  of  them  sate  in  their 
clumpes,  they  might  espie  where  Coridon  came  running  towards  them, 
almost  out  of  breath  with  his  hast.  What  newes  with  you,  quoth  Aliena, 
that  you  come  in  such  post  ?  Oh,  mistres,  quoth  Coridon,  you  have  a 
long  time  desired  to  see  1'hoebe,  the  faire  shepheardesse  whom  Mon- 
tanus  loves  ;  so  now  if  you  please,  you  and  Gunimede,  to  walk  with  niee 
to  yonder  thicket,  there  shall  you  see  Montanus  and  her  sitting  by  a 
fountaine,  he  courting  her  with  her  countrey  ditties,  and  she  as  coy  as  if 
she  held  love  in  disdaine.  The  newes  were  so  welcome  to  the  two 
lovers,  that  up  they  rose,  and  went  with  Coridon.  Assoone  as  they 
drew  nigh  the  thicket,  they  might  espie  where  Phoebe  sate,  the  fairest 
shepherdesse  in  all  Arden,  and  he  the  frolickst  swaine  in  the  whole  for- 
rest,  she  in  a  petticote  of  scarlet,  covered  with  a  green  mantle,  and  to 
shrowd  her  from  the  sunne,  a  chaplet  of  roses,  from  under  which  ap- 
peared a  face  full  of  natures  excellence,  and  two  such  eyes  as  might  have 
amated  a  greater  man  than  Montanus.  At  gaze  uppon  this  gorgeous 
nymph  sate  the  shepheard,  feeding  his  eyes  with  her  favours,  wooing 
with  such  piteous  lookes,  and  com  ting  with  such  deepe  strained  sighs,  as 
would  have  made  Diana  her  selfe  to  have  been  compassionate.  .  .  .  Ah, 
Phcebe,  quoth  he,  whereof  art  thou  made,  that  thou  regardest  not  my 
maladie  ?  ...  At  these  wordes  she  filcl  her  face  full  of  frowns,  and  made 
him  this  short  and  sharpe  reply. — Importunate  shepheard,  whose  loves 
are  lawlesse,  because  restlesse,  are  thy  passions  so  extreame  that  thou 
canst  not  conceale  them  with  patience  ?  .  .  .  \Yert  thou,  Montanus,  as 
faire  as  Paris,  as  hardy  as  Hector,  as  constant  as  Troylus,  as  loving  as 
I.eander,  Phoebe  could  not  love,  because  she  cannot  love  at  all  :  and 
therefore  if  thou  pursue  me  with  Phoebus  I  must  flic  with  Daphne. 
Ganimecle,  overhearing  all  these  passions  of  Montanus,  could  not  brooke 
the  crueltie  of  Phoebe,  but  starting  from  behind  the  hush  said  :  And  if, 
damzell,  you  fled  from  mec,  I  would  transforme  you  as  Daphne  to  a  bay, 
and  then  in  contempt  trample  your  branches  under  my  feet.  Phoebe  at 
this  sodaine  replyc  was  ama/ed,  especially  when  shee  saw  so  faire  a 
swaine  as  Ganimede  ;  blushing  therefore,  she  would  have  bene  gone,  but 
that  he  held  her  by  the  hand,  and  prosecuted  his  reply  thus  :  What, 
shepheardesse,  so  faire  and  so  cruell  ?  Disdaine  besecmcs  not  cottages, 
nor  coynesse  maids  ;  for  either  they  be  condemned  to  be  too  proud,  or 
too  froward  .  .  .  Love  while  thou  art  yoong,  least  thou  be  disdained 


'  "An  incident  in  the  novel,  which  accounts  for  the  sudden  falling  in  love  ot"  Sala- 
dyne and  Aliena,  is  altogether  omitted  by  Shakespeare.  A  band  ot  robbers  attempt  to 
carry  off  Aliena,  kosader  encounters  them  single-handed,  but  is  wounded  and  ,il"'iM 
overpowered,  when  his  broiher  comes  to  the  rescue.  While  Ganiniede  is  dressing  Ros- 
ader's  wounds,  Aliena  and  S.iladyne  indulge  in  some  'quirkes  and  quiddities  ot  love,' 
the  course  of  which  is  told  with  considerable  detail.  Aliena's  secn-i  is  soon  sxtorted 
from  her  by  (Janiniede  "  vWrighl). 


I32 


XOTES. 


when  thou  art  olde.  Ilcnutic  nor  time  cannot  l>c  rccalde,  and  if  thou 
love,  like  of  Montanus  ;  for  if  his  desires  are  many,  so  his  deserts  are 
great.  Phoebe  all  this  while  gazed  on  the  perfection  of  Ganimede,  as 
deeply  enamored  on  his  perfection  as  Montamis  inveigled  with  hers.  .  .  . 
"  1  am  glad,  quoth  (ianimede,*  you  looke  into  your  own  faults,  and 
see  where  your  shoo  wrings  you,  measuring  now  the  pains  of 
Montanus  by  your  owne  passions.  Truth,  q.  l'hoel>e,  and  so 
deeply  I  repent  me  of  my  frowardncsse  towards  the  shepheard,  that 
could  I  cease  to  love  Ganimede,  1  would  resolve  to  like  Moixtanus. 
What  if  I  can  with  reason  perswade  I'hcebe  to  mislike  of  Ganimede,  wil 
site  then  favour  Montanus?  When  reason,  quoth  she,  doth  quench  that 
love  that  I  doe  owe  to  thee,  then  will  I  fancie  him  ;  conditionally,  that 
if  my  love  can  bee  supprest  with  no  reason,  as  being  without  reason, 
Ganimcde  will  oncly  wed  himselfe  to  Phoebe.  I  gruunt  it,  faire  shep- 
heardesse,  quoth  he  ;  and  to  feed  thee  with  the  sweetnesse  of  hope,  this 
resolve  on  :  I  wil  never  marry  my  selfe  to  woman  but  unto  thy  sclfe.  .  .  . 
(ianimede  tooke  his  leave  of  Phoebe  and  departed,  leaving  her  a  con- 
tented woman,  and  Montanus  highly  pleased.  .  .  .  As  she  came  on  the 
plaincs,  slice  might  espy  where  Rosader  and  Saladyne  sat  with  Aliena 
under  the  shade.  ...  I  had  not  gone  abroad  so  soone,  quoth  Rosader, 
but  that  I  am  bidden  to  a  marriage,  which,  on  Sunday  next,  must  bee 
solemnpnized  betwcene  my  brother  and  Aliena.  I  see  well  where  love 
leads  delay  is  loathsome,  and  that  small  wooing  serves  where  both  the 
parties  are  willing.  Truth,  quoth  Ganimede  ;  but  what  a  happy  clay 
should  it  be,  if  Rosader  that  day  might  be  married  to  Rosalynd.  Ah,  good 
Ganimede,  quoth  he,  by  naming  Rosalynd,  renue  not  mysorrowcs;  (or  the 
thought  of  her  perfections  is  the  thrall  of  my  miseries.  Tush,  bee  of 
good  cheare,  man,  quoth  Ganimede:  I  have  a  friend  that  is  deeply  ex- 
perienst  in  negromancy  and  magicke  ;  what  art  can  do  shall  be  acted  for 
thine  advantage.  I  wil  cause  him  to  bring  in  Rosalynde,  if  either  France 
or  any  bordring  nation  harbour  her  ;  and  upon  that  take  the  faith  ot  a 
yoong  shepheard.  .  .  . 

"  In  these  humors  the  wceke  went  away,  that  at  last  Sunday  came.  .  .  . 
As  they  were  thus  drinking  and  ready  to  go  to  church,  came  in 
Montanus,  apparalled  all  in  tawny,  to  signirie  that  he  was  for- 
saken :  on  his  head  hee  wore  a  garland  of  willow,  his  bottle  hanged  by 
his  side,  whereon  was  painted  dispaire,  and  on  his  sheephooke  hung  two 
sonnets,  as  labels  of  his  loves  and  fortunes.  .  .  .  Gerismond,  desirous  to 
prosecute  the  encle  of  these  passions,  called  in  Ganimede,  who,  knowing 
the  case,  came  in  graced  with  such  a  blush,  as  beautified  the  christall  of 
his  face  with  a  ruddie  brightnesse.  The  king  noting  well  the  phisnomy 
of  (ianimede,  began  by  his  favour  to  cal  to  mind  the  face  of  his  Rosalynd, 
and  with  that  fetcht  a  deepe  sigh.  Rosader,  that  was  passing  familiar 
with  Gerismond,  demanded  of  him  why  he  sighed  so  sore?  Because, 
Rosader,  quoth  hee,  the  favour  of  Ganimede  puts  nice  in  minde  of  Rosa- 
lynde. At  this  word  Rosader  sighed  so  deeply,  as  though  his  heart  wi.uld 

*  This  is  at  an  interviev;  with  Pluubc  after  the  latter  lias  sent  a  letter  tu  (iaiiimctlc  by 
MniiUliUa. 


INTRODUCTION. 


'3.1 


have  burst.  And  whats  the  matter,  quoth  Gerismond,  that  you  quite  mee 
with  such  a  sigh  ?  1'ardon  me,  sir,  quoth  Kosader,  because  I  love  none 
but  Kosalyud.  And  upon  that  condition,  quoth  Gerismond,  that  Kosa- 
lynd  were  here,  I  would  this  day  make  up  a  marriage  betwixt  her  and 
thee.  At  this  Aliena  timid  her  head  and  smilde  upon  Ganimede,  and 
shee  could  scarce  keep  countenance.  Yet  slice  salved  all  with  secrecie; 
and  Gerismond,  to  drive  away  his  dumpes,  questioned  with  Ganimede, 
what  the  reason  was  he  regarded  not  Phoebes  love,  seeing  she  was  as 
faire  as  the  wanton  that  brought  Troy  to  ruine  ?  Ganimede  mildly  an- 
swered, It  I  shuld  affect  the  faire  Phoebe,  I  should  offer  poore  Montanus 
great  wrong  to  winne  that  from  him  in  a  moment,  that  lice  hath  labored 
for  so  many  monthes.  Yet  have  I  promised  to  the  bewtiful  shepheardesse 
to  wed  my  selfe  never  to  woman  except  unto  her  ;  but  with  this  promise, 
that  if  I  can  by  reason  suppresse  Phoebes  love  towards  me,  she  shall  like 
of  none  but  of  Montanus.  To  that,  quoth  Phcebe,  I  stand  ;  for  my  love 
is  so  fa i  beyond  reason,  as  wil  admit  no  persuasion  of  reason.  For  jus- 
tice, quoth  he,  I  appeale  to  Gerismond  :  and  to  his  censure  wil  I  stand, 
quoth  Phoebe.  And  in  your  victory,  quoth  Montanus,  stands  the  hazard 
of  my  fortunes,  for  if  Ganimede  go  away  with  conquest,  Montanus  is  in 
conceit  loves  monarch  :  if  Phoebe  winne,  then  am  1  in  effect  most  miser- 
able. \Ve  wil  see  this  controversie,  quoth  Gerismond,  and  then  we  will 
to  church  :  therefore,  Ganimede,  led  us  heare  your  argument.  Nay,  par- 
don my  absence  a  while,  quoth  shee,  and  you  shall  see  one  in  store.  In 
went  Ganimede  and  drest  her  self  in  womans  attire,  having  on  a  gowne 
of  greene,  with  a  kirtle  of  rich  sandall,  so  quaint,  that  she  seemed  Diana 
triumphing  in  the  forrest  :  upon  her  head  she  wore  a  chaplet  of  roses, 
which  gave  her  such  a  grace  that  she  looked  like  Flora  pearkt  in  the 
pride  of  all  her  Homes.  Thus  attired  came  Rosalind  in,  and  presented 
hir  self  at  hir  fathers  tcetc,  with  her  eyes  full  of  teares,  craving  his  bless- 
ing, and  discoursing  unto  him  all  her  fortunes,  how  shee  was  banished 
by  Torismond,  and  how  ever  since  she  lived  in  that  country  disguised.  .  .  . 

"  While  every  one  was  amazed, .  .  .  Condon  came  skipping  in,  and  told 
them  that  the  priest  was  at  church,  and  tarried  for  their  comming.  With 
that  Gerismond  led  the  way,  and  the  rest  followed  ;  where  to  the  admi- 
ration of  all  the  countrey  swains  in  Arden,  their  manages  were  solemnly 
solemnized.''  .  .  . 

It  will  be  seen,  that  while  the  Poet  followed  the  novel  closely  in  the 
main  incidents  of  his  plot,  the  characterization  is  exclusively  his  own. 
The  personages  common  to  the  novel  and  the  play  arc  as  truly  new  crea- 
tions in  the  latter  as  Jaques,  Touchstone,  and  Audrey,  who  have  no  place 
in  the  former.  Even  the  deviations  in  the  conduct  of  the  story,  as  Knight 
remarks,  "furnish  a  most  remarkable  example  of  the  wonderful  superi- 
ority of  his  art  as  compared  with  the  art  ot  other  nun."  We  cannot  dis- 
cuss these  in  detail  ;  the  quotations  we  have  given  troin  the  novel  will 
enable  the  reader  to  examine  them  for  himself.* 

*  Compare  what  Campbell  says  in  his  introduction  to  the  play  :  "  The  pint  of  this  de- 
licious comedy  «.is  taken  by  our  1'oet  t'rom  Lodge's  '  Rosnlynde.  or  Kupluu-s'  ti'ildcn 
l.e,s:acye.'  >ome  ot"  Lodge's  incidents  are  judiciously  omitted,  but  the  .m cater  part  ale 
pre«;rved — the  wrestling  scene,  the  lliyht  ot  the  two  ladies  into  the  forest  of  Aiucn,  the 


I34  INTRODUCTION. 

We  may  add  that  the  character  of  Adam  has  a  peculiar  interest  from 
the  fact  that,  according  to  a  tradition  current  in  the  last  century,  the  pait 
was  performed  by  Shakespeare  himself.  Steevens  gives  the  following 
extract  from  Oldys's  manuscript  collections  for  a  life  of  the  Poet : 

"One  of  Shakespeare's  younger  brothers,  who  lived  to  a  good  old 
age,  even  some  years,  as  I  compute,  after  the  restoration  of  A'.  Charles  II., 
would  in  his  younger  days  come  to  London  to  visit  his  brother  Will,  as 
he  called  him,  and  be  a  spectator  of  him  as  an  actor  in  some  of  his  own 
plays.  This  custom,  as  his  brother's  fame  enlarged,  and  his  dramatic 
entertainments  grew  the  greatest  support  of  our  principal,  if  not  of  all 
our  theatres,  he  continued  it  seems  so  long  after  hr.  brother's  death,  as 
even  to  the  latter  end  of  his  own  life.  The  curiosity  at  this  time  of  the 
most  noted  actors  [exciting  them]  to  learn  something  from  him  of  his 
brother,  &c.,  they  justly  held  him  in  the  highest  veneration.  And  it  may 
be  well  believed,  as  there  was  besides  a  kinsman  and  descendant  of  the 
family,  who  was  then  a  celebrated  actor*  among  them,  this  opportunity 
made  them  greedily  inquisitive  into  every  little  circumstance,  more  espe- 
cially in  his  dramatick  character,  which  his  brother  could  relate  of  him. 
Hut  he,  it  seems,  was  so  stricken  in  years,  and  possibly  his  memory  so 
weakened  with  infirmities  (which  might  make  him  the  easier  pass  for  a 
man  of  weak  intellects),  that  he  could  give  them  but  little  light  into  their 
enquiries  ;  and  all  that  could  be  recollected  from  him  of  his  brother  Will, 
in  that  station  was,  the  faint,  general,  and  almost  lost  ideas  he  had  of  hav- 
ing once  seen  him  act  a  part  in  one  of  his  own  comedies,  wherein  being 
to  personate  a  decrepit  old  man,  he  wore  a  long  beard,  and  appeared 
so  weak  and  drooping  and  unable  to  walk,  that  he  was  forced  to  be  sup- 
ported and  carried  by  another  person  to  a  table,  at  which  he  was  seated 
among  some  company,  who  were  eating,  and  one  of  them  sung  a  song." 

Capell  also  has  the  following  : 

"  A  traditional  story  was  current  some  years  ago  about  .Stratford, — 
that  a  very  old  man  of  that  place, — of  weak  intellects,  but  yet  related  to 
Shakespeare, — being  ask'd  by  some  of  his  neighbours,  what  he  remem- 
ber'd  about  him  ;  answer'd, — that  he  saw  him  once  brought  on  the  stage 
upon  another  man's  back ;  which  answer  was  apply 'd  by  the  hearers,  to 
his  having  seen  him  perform  in  this  scene  the  part  of  Adam." 

This  story  came  to  Capell  from  Mr.  Thomas  Jones,  of  Tarbick,  in  Wor- 
cestershire ;  and  Malone  suggests  that  he  may  have  heard  it  from  Rich- 
ard Quiney  (who  died  in  1656,  at  the  age  of  69)  or  from  Thomas  Qtiiney, 
Shakespeare's  son-in-law  (who  lived  till  about  1663,  and  who  was  27 
years  old  when  the  poet  diecl^,  or  from  one  of  the  Hathaways. 

meeting  there  of  Rosalind  with  her  father  and  mother,  and  the  whole  happy  termination 
of  the  plot,  are  found  in  the  prose  romance.  Even  the  names  of  ihe  personages  are  but 
slightly  changed  ;  for  Lodge's  Rosalind  in  her  male  attire,  calls  herself  Ganymede,  and 
her  cousin,  as  a  shepherdess,  is  named  Aliena  Hut  never  was  the  prolixity  and  ped- 
antry of  a  prosaic  narrative  transmuted  by  genius  into  such  magical  poetry.  In  the  days 
of  James  I..  George  Heriot,  the  Edinburgh  merchant  who  built  a  hospital  still  bearing  his 
name,  is  said  to  have  made  his  fortune  by  purchasing  for  a  trifle  a  quantity  of  sand  that 
had  been  brought  as  ballast  by  a  ship  from  Africa.  As  it  was  dry,  he  suspected  from  its 
weight  that  it  contained  gold,  and  he  succeeded  in  filtering  a  treasure  from  it.  Sh.ikes- 
peare,  like  Heriot,  took  the  dry  and  heavy  sand  of  Lodge,  and  made  gold  out  of  it." 
*  Charles  Hart,  who  was  perhaps  a  grandson  ot  Shakespeare's  sister  Joan. 


ACT  I.    SCEXE  I. 


'35 


ACT   I. 

SfKNK  ~[. — I.  Ax  1  renit'inl'i'i;  etc.  We  follow  the  folio  here,  with 
Halliwcll,  K.,  and  others.  \Yarb.,  who  has  been  followed  by  I),  and 
some  other  editors,  thought  it  necessary  to  mend  the  grammar  by  read- 
ing "upon  this  fashion:  he  bequeathed,"  etc.  W.  points  it  thus: 
"fashion, — bequeathed,"  etc.,  which  is  plausible,  Kcqueathcd  is  then  in 
the  past  tense,  the  subject  being  omitted;  as  Abbott  (dr.  399)  explains 
chared  just  below.  With  our  pointing  AV///,V;//V(/  is  a  participle,  and 
ctt<irgt-it  may  be  considered  the  same,  or  as  Abbott  gives  it. 

2.  /''('/•  ii.  'l\\\^  transposition  of  the  article  is  akin  to  that  still  allowed 
after  //<.7i>  and  ,tv.  ( '('.  dr.  85,  422.  In  A.  unit  ('.  v.  2.  2}6,  we  have  "  \Yhat 
poor  an  instrument."  K.  says  that  Orlando  is  "quoting  the  will,  and 
poor  is  the  adjective  to  a  t/ummitJ  t  rcncns,"  Caldecott  puts  the  whole 


!36  A'OTES. 

passage  thus  :  "  It  was  upon  this  fashion  bequeathed  me  by  [my  father 
in  Ills]  will,  but  poor  a  (the  poor  pittance  of  a)  thousand  crowns;  and, 
as  tliou  sayest,  [it  was,  or  he  there]  charged  my  brother,"  etc. 

3.  On  his  Messing.  On  is  often  so  used  in  asseverations  and  obsecra- 
tions (Schmidt).  Cf.  T.  of  A.  iii.  5.  87  :  "On  height  of  our  displeasure," 
etc.  \Vr.  quotes  lleywood,  Englifk  Traveller:  "This  doe  vpon  my 
blessing." 

To  /';•<•<•</—  to  bring  up,  educate  ;  as  in  9  and  101  below.  Cf.  our  pi£:>- 
e.u  use  in  well-bred,  good  breeding,  etc. 

5.  .-//  school.  That  is,  at  the  university.  Cf.  Ham.  i.  2.  113  :  "going 
back  to  school  in  \Vittcnl>erg."  On  goldenly,  cf.  Macb.  i.  7.  33  :  "golden 
opinions."  1'rojit  ~-  proficiency.  Cf.  the  use  of  the  verb  in  i  lien.  1 1\ 

iii.  i.  166 : 

"  Exceedingly  well  read,  and  profiled 
In  strange  concealments,''  clc. 

7.  Slavs.  Hetains.  Cf.  i.  3.  65  below  :  "we  stay'd  her  for  your  sake." 
"\Varb.  substituted  "sties,"  and  Johnson  approved  the  change. 

II.  Manage.  The  training  of  a  horse  (Fr.  manege}.  Cf.  Rich.  II.  iii. 
3.  179;  and  see  also  Mer.  p.  153.  For  the  ellipsis  in  dearly  hired,  see 
(.Jr.  403. 

13.  The  which.     See  Cr.  270. 

15.  Countenance.  Hearing,  behaviour.  Cf.  I  //<•;/.  //'.  v.  1.69:  "  l!y 
unkind  usage,  dangerous  countenance."  \Vr.  explains  it  as  "favour, 
regard,  patronage  ;"  Walker,  "the  style  of  living  which  he  allows  me  ;" 
J.  II.,  "the  way  in  which  he  acknowledges  or  entertains  me."  Seems  — 
seems  as  if  it  wished  (Capcll).  Cf.  Macb.  p.  170. 

17.  Iliihis.  Menials,  servants  ;  as  in  M.  If.  iii.  5.  QQ  and  A'.  anJ  'J.  i. 
7.  73.  Klsewhere  the  word-  boor,  peasant  ;  as  in  /,.  /,.  /,.  i.  2.  123,  etc. 

iS.   Mi/tcs.      Undermines,  seeks  to  destroy. 

20.  Miit:nv.  Rebel.  S.  also  uses  the  form  miilinc,  both  verb  and 
noun  ;  as  in  //?;//.  iii.  4.  83,  v.  2.  6,  and  A'.  Jo/in,  ii.  i.  378. 

26.  What  make  von  here?  What  do  you  here?  As  Halliwel!  notes, 
the  phrase  is  very  common,  and  is  quibbled  upon  in  /..  /,.  L.  iv.  3.  KJO 
fol.  and  in  l\ich.  III.  i.  3.  164  fol.  Cf.  iii.  2.  206  below. 

29.  Af<irrv.  Originally  a  mode  of  swearing  by  the  Virgin  ;  but  its 
derivation  had  come  to  be  forgotten  in  the  time  of  S.  Wr.  remarks  that 
"here  it  keeps  up  a  poor  pun  upon  »i<ir." 

32.  />V  naught  awhile.  "This  is  merely  a  petty  oath,  equivalent  to 
a  mischief  on  von,  or  sometimes  to  get  von  gone  immcthtitelv"  (Ilalliwcll). 
Steevens  quotes  Storie  <</  A '///;••  Jliirii/s,  156-;:  "C'ome  away,  and  be 
nought  awhyle  ;"  and  other  commentators  add  many  other  examples 
of  the  phiase  from  writers  cf  the  time. 

^4.  The  allusion  to  the  story  o!"  the  ]irodigal  (Luke,  xv.)  is  obvious. 
Cf.  II'.  7'.  iv.  •;.  105:  "a  motion  of  the  1'rodigal  Son"  (that  is,  a  puppet- 
phow,  illustrating  the  story)  ;  and  2  lien.  II'.  ii.  i.  157:  "  the  story  of  the 
Viodigal,  01  the  (leiman  hunting  in  water-uork "  (where  the  context 
shows  that  ii  was  used  in  t.qieMiies  and  hangings).  See  al>o  /'.  G.  of  I'. 
ii.  3.  4,  .!/.  i'/  I '.  ii.  6.  17,  etc. 

40.  //////.     Otteii  put,  by  attraction  10  whom  undeibtood,  for  fu  whom 


ACT  /.     SCE.\'E  /. 


137 


(Gr.  208).  Cf.  A.  and  C.  iii.  I.  15  :  "  Acquire  too  high  a  fame  when  him 
we  serve  's  away,"  etc. 

41.  In  the  gtntle  condition  of  blood.  "On  any  kindly  view  of  relation- 
ship "(M.). 

46.  Your  coming,  etc.  That  is,  you  are  more  closely  and  directly  the 
representative  of  his  honours,  and  therefore  entitled  to  the  respect  due 
to  him.  NVarb.  suggested  "his  rt-vniu;"  which  Haumer  adopted, 
llalliwell  quotes  2  Hen,  11'.  iv.  5.  4:  : 

"My  due  from  thee  is  this  ini|>erial  crown. 
Which,  as  intnuelintt  from  thy  place  and  blood, 
Derives  itself  to  me." 

"Whiter  thinks  that  Orlando  uses  r<7r/vw<v  in  an  ironical  sense,  and 
means  to  say  that  "  his  brother,  by  coming  before  him,  is  nearer  to  a 
respectable  and  venerable  elder  of  a  family." 

48.  ll'Jiiit,l>ov  !     Oliver  attempts  to  strike  him,  and  Orlando  in  return 
seizes  his  brother  by  the  throat. 

49.  Young.     Raw,  inexperienced.     Cf.  Lodge   (p.  122  ;:bove)  :   "  I  am 
yongcst  to  performe  any  martial  expK  vtcs,"  etc.     See  also  .Mack.  iii.  4. 
144:  "We  are  yet  but  young  in  deed."     As  \Vr.  notes,  "  too  young"  is 
used  in  just  the  contrary  sense  in  Much  Ado,  v.  i.  119. 

52.  I'illtiin.  Oliver  uses  the  word  in  the  present  sense;  Orlando, 
with  a  play  upon  this  and  the  old  meaning  of  serf  or  base-born  fellow. 
Cf.  7!  .-/.  iv.  3.  73,  Lt'tir,  iii.  7.  78,  etc.  The  word  was  sometimes  u>ed 
as  a  familiar  form  of  address,  and  even  as  a  term  of  endearment  ;  a>  in 
C.  of  /i.  i.  2.  19,  \V.  T.  i.  2.  136,  etc.  In  7'.  A",  ii.  5.  16  anil  '!'.  and  C.  iii.  2. 
35  it  is  applied  to  women  in  this  sense. 

66.  Sui/i  cxercist's,  etc.      \Vr.  quotes  7'.  G.  of  I'.  \.  3.  30  : 

"There  shall  he  practise  tilts  and  tournaments, 
Hear  sweet  discourse,  converse  with  noblemen, 
And  be  in  eye  of  every  exercise 
Worthy  his  youth  and  nobleness  of  birth.'' 

67.  Allotcry.     Allotment,  portion.     S.  uses  the  word  only  here. 

68.  Go  buy.     Go  to  buy  ;  a  very  common  ellipsis  with  go  in  S.     C'"  i. 
2.  223  below.      As  Abbott  remarks  (Gr.  340),  even  now  we  retain  a  dis- 
like to  use  the  formal  to  after  go  and  conu-,  and  therefore  substitute  and. 
Cf.  ii.  3.  31  below  :   "  wonldst  thou  have  me  go  and  beg  my  food  ?" 

69.  And  wliat,  etc.      \Y.  points   the   passage   thus:    "And  what  wilt 
thou  do,  beg,  when  that  is  spent  ?"     7>V;r  is  thcn  =  7  beg,  as  /;v/r  often  = 
I  pray  ;  but  S.  does  not  elsewhere  use  h-g  in  that  way,  and  the  ordinary 
pointing  gives  a  sufficiently  clear  meaning. 

70.  Git  yon  in.     On  the  use  of  von,  see  Gr.  232. 

76.  Lost  my  teeth,  etc.  M.qu  )tes  Tacitus,  .•/////.  1.34:  "quidam  [milites], 
prensa  nianu  Germanici  per  speciem  osculandi,  inseruerunt  digitos,  ut 
vacua  dentibus  ora  contingoret ;"  a  mute  appeal  to  the  same  effect  as 
Adam's. 

y.S.  .S/v/v.     See  Gr.  343. 

79.  Gri'-^i  ufoii  in,'.  Gel  the  better  of  me,  get  the  upper  h.intl  i>t  me 
(Si'hmidt);  or,  ])erha|is,  "inciease  in  disobedience  to  my  auih"i  ity  '' 
(llahiwell).  Cf.  ~J.  C.  ii.  I  107:  "growing  on  the  south"  (that  i>,  gaining 


138  NOTES. 

on  it,  tending  that  way)  ;  Hen.  V.  iii.  3.  55  :  "sickness  growing  Upon  our 
soldiers,"  etc. 

80.   rhvsic  your  runkness.     Check  this  rank  growth  of  your  insolence. 

83.  ll'rfstli-r.  "Wrastlcr"  in  the  folio  here  and  elsewhere;  but  the 
other  spelling  was  also  used  in  the  time  of  S.  The  former  indicates  the 
pronunciation,  which  is  still  a  vulgar  one  in  New  England. 

85.  So  f  lease  yon.  If  it  please  you  ;  of  winch  our  "  if  you  please  "  is  a 
corruption.  Cf.  Sonn.  136.  11  :  "so  it  please  thee,"  etc.  See  Aler.  pp. 
134,  136  ;  and  for  the  so,  Gr.  133. 

90.  Some  eds.  print  "Good  monsieur  Charles! — what's,"  etc. ;  making 
Good  monsieur  Charles!  a  response  to  the  greeting  =  "you  are  very 
kind"  (M.). 

97.  Good  I  care.  Full  permission.  Cf.  Af.of  V.  iii.  2.  326  and  i  Hen.  7K 
i.  3.  20. 

IO2.  She.  The  1st  and  2(1  folios  have  "he  ;"  the  3d  and  4th,  "she." 
For  the  "  indefinite  "  use  of  the  infinitive  in  to  stay  (very  common  in  S.), 
see  Gr.  356. 

107.  / 'he  forest  of  Arden.  The  Forest  of  Ardennes  was  in  the  north- 
east of  France,  "between  the  Meuse  and  the  Moselle;"  but  it  is  not 
necessary  to  suppose  that  the  poet  had  this  fact  in  mind.  He  took  the 
scene  from  Lodge's  novel,  lions  and  all,  and  did  not  trouble  himself  about 
its  geography,  which  has  nevertheless  been  a  sore  vexation  to  some  of 
his  commentators.  K.  has  well  said  :  "  We  most  heartily  wish  that  the 
critics  would  allow  poetry  to  have  its  own  geography.  We  do  not  want 
to  know  that  Bohemia  has  no  seaboard  ;  we  do  not  wish  to  have  the: 
island  of  Sycorax  defined  on  the  map;  we  do  not  require  that  our  Forest 
of  Arden  should  be  the  Arditenna  Svh'a  of  Caesar  and  Tacitus,  and  that 
its  rocks  should  be  'clay-slate,  grauwacke-slate,  grauwacke,  conglom- 
erate, quartz  rock,  and  quart/.ose  sandstone.'  We  are  quite  sure  that 
Ariosto  was  thinking  nothing  of  French  Flanders  when  he  described 

how 

two  fountains  grew, 
Like  in  the  taste,  but  in  effects  unlike, 

t'tac'ii  in  Ardeiina,  each  in  other's  view: 
Who  tastes  the  one,  love's  dart  his  he.m  cloth  strike  ; 

Contrary  of  the  other  cloth  ensue, 
Who  drinks  thereof  their  lovers  shall  niislike.' 

We  arc  equally  sure  that  Shakespeare  meant  to  take  his  forest  nut 
of  the  region  of  the  literal  when  he  assigned  to  it  a  palm-tree  and  a 
lioness." 

There  was  also  a  Forest  of  Arden  in  Warwickshire.  Drayton,  in  his 
Matilda,  1594.  speaks  of  "  sweet  Arden's  nightingales;"  and  again,  in 

the  Idea : 

"Where  nightingales  in  Arden  sit  and  sin;;, 
Amongst  the  daintie  dexv-inipearled  (lowers. '' 

loS.  A  manv.     See  licit.  I',  p.  170,  <>r  Gr.  87. 

no.  l''leet.  Not  elsewhere  u>e<l  tran>ilivcly  by  S.  The  intransitive 
verb  occurs  often  ;  as  in  Sonn.  19.  5,  M.  of  I '.  iii.  2.  108,  i  v.  I.  135,  A".  John, 
ii.  i.  285,  etc. 

in.  1'he golden  u<orlJ.     That  is,  the  golden  age. 


ACT  I.     SCENE  I. 


'39 


M2.  What.     Often  so  used,  "superfluously  introducing  a  question" 
(Schmidt).    Cf.  7.  C.  iv.  i.  10,  Ham.  \.  \.  19,  T.  of  S.  iv.  3.  59,  etc. 
118.  Shall.     Must,  will  have  to.     Gr.  315. 

121.  Withal.     With  this,  with  it.     Cf.  i.  2.  22  and  ii.  7.  48  below.     Gr. 
196. 

122.  Intendment.     Intention,    purpose.     Cf.  Hen.  V.  i.   2.   144:  "the 
main  intendment  of  the  Scot." 

127.  By  underhand  means.  "  because  of  the  obstinacy  which  he  at- 
tributes to  him  "  (\\'r.). 

129.  //  is.     Used  contemptuously  ;  as  in  M.  of  V.  iii.  3.  18  :   "It  is  the 
most  impenetrable  cur  ;"   and  Hen.  I',  iii.  6.  71  :   "  \Vhy,  't  is  a  pull,  a 
fool,"  etc.     In  Klacb.  i.  4.  58  ("  It  is  a  peerless  kinsman  ")  the  familiarity 
is  affectionate.     See  also  iii.  5.  112  below. 

130.  Emulator.     Used   by  S.  only  here.     For  emulation  —  envy,  jeal- 
ousy, see  J.  C.  ii.  3.  14  and  note  in  our  ed.  p.  153.     So  emiiion s-  envi- 
ous ;  as  in  T.  and  C.  ii.  3.  79,  242,  etc. 

i}i.  Contriver.  Plotter  ;  as  in  'J'.  A.  iv.  I.  36,  J.  C.  ii.  I.  158,  and  ;!///</>. 
iii.  5.  7.  Contrive  is  used  in  the  same  bad  sense  ;  as  in  iv.  3.  134  below. 
Cf.  Hen.  V.  iv.  I.  171,  J.  C.  ii.  3.  16,  Ham.  iv.  7.  136,  etc. 

132.  His  natural  brother.     Halliwell    remarks  that  '•'•natural  did  not 
formerly  imply,  as  now,  illegitimacy."     He  quotes  A\>menclator,  1585: 
'*•  h'i Hits  Hatnralis,  a  natural  or  lawfully  begotten  sonne."' 

133.  Had  as  lief.     Good  old  English,  but  condemned  by  some  modern 
grammar-mongers  because  they  cannot  "parse"  it.     Lief  is  the  A.  S. 
fi'i'f,  dear.     The   comparative  liefer  or  lever  and  the   superlative  liefest 
are  common  in  our  early  writers.     Cf.  Gowcr  (quoted  by  Tooke)  : 

"And  let  no  thyng  to  thee  be  lefe 
Which  to  another  man  is  grefc ;" 
and  again  : 

"Three  pointes  which,  I  fynde, 
Ben  levest  unto  mans  kyncle ;" 

Chaucer,  C.  T.  10995  :  "  ^  were  me  lever  than  twenty  pound  worth  loud  ;" 
Id.  11004:  "And  he  had  lever  talken  with  a  page,"  etc.  S.  does  not 
use  liefer,  but  has  liefest  in  2  Hen.  /"/.  iii.  I.  164  :  "  my  liefest  liege."  Cf. 
Spenser,  F.  Q.  iii.  2.  33  :  "my  liefest  liefe"  (my  dearest  love).  We  have 
both  /A-/ and  liefer  in  /".  Q.  iii.  i.  24  : 

"  These  six  would  me  enforce  by  odds  of  might 
To  chaunge  my  liefe,  and  love  another  Dame: 
That  deatli  me  liefer  were  then  such  despight"- 

that  is,  death  would  be  more  welcome  to  me  than  such  despite.  The 
old  use  of  the  comparative  is  also  illustrated  by  /•'.  Q.  i.  9.  32  :  "  For 
lever  had  I  die  then  see  his  deadly  face." 

Lief,  at  first  "dear,  beloved,  pleasing,  came  to  mean  willing.  Spenser 
has  lief  or  loth*  —  willing  or  unwilling;  as  in  /•'.  Q.  iii.  9.  13  :  "Or  them 
dislodge,  all  were  they  liefe  or  loth  ;"  and  Id.  \i.  i.  44  :  "  lie  up  arose, 
however  liefe  or  loth."  From  this  the  transition  is  easy  to  the  adverbial 
use  willingly,  as  in  lidil  us  lief-  would  as  willingly.  The  forms  //,/  and 

*  Cf.  Chaucer's  "  For  lefe  ne  lothe  "  (for  friend  nor  enemyl,  "  al  be  him  luth  or  lete  " 
(whether  it  be  disagreeable  or  agreeable  to  him  ,  elc. 


140 


NOTES. 

arc  used  interchangeably  in  the  folios.  The  latter  is  not  unknown 
in  good  writers  of  recent  date.  Matzner  quotes  Sheridan:  "I  had  as 
lievc  be  shot." 

134,  Thon  uvrt  best.  Another  old  English  idiom,  now  obsolete.  Cf. 
"J.  C.  iii.  3.  12  :  "Ay,  and  truly,  you  were  best,"  etc.  The  pronoun  was 
originally  a  dative  (to  you  it  were  best),  but  came  to  be  regarded  as  a 
nominative  ;  as  in  if  you  please  —  if  it  please  you  (sec  on  85  above).  See 
(Jr.  230,  352,  and  cf.  190. 

136.  J'raelise.  Use  stratagems,  plot  (Schmidt).  Cf.  2  Ifen.  VI.  ii.  I. 
171  :  "  Have  practis'd  dangerously  against  your  state."  Elsewhere  it  is 
followed  by  on  or  upon  ;  as  in  Much  Ado,  ii.  i.  398,  Lear,  iii.  2.  57,  Oth.  ii. 
I.  319,  etc. 

140.  Brotherly.    An  adverb,  as  in  the  only  other  instances  of  the  word 
in  S.  :  3  Hen.  VJ.  iv.  3.  38,  and  Cvnib.  iv.  2.  158. 

141.  Anatomize.     Used  literally  (—dissect)  in  Lear,  iii.  6.  So  ;  figura- 
tively (as  here  and  in  ii.  7.  56  below)  in  A',  of  L.  1450,  A.  IV.  iv.  3.  37,  etc. 

147.  Gamester.     "A  frolicsome  fellow,  a  merry  rogue  "  (Schmidt)  ;  as 
in  T.  of  S.  ii.  i.  402  and  Hen.  I  'III.  i.  4.  45.     It  means  a  gambler  in  /,.  /..  /,. 
i.  2.  44,  Hen.  V.  iii.  6.  1 19,  etc.  ;  and  a  harlot  in  A.  IV.  \.  3.  188  and  Per.  iv. 
6.  St. 

148.  Than  he.    Sec  dr.  206,  and  cf.  lines  14  and  250  of  the  next  scene. 
Coleridge,  writing  of  this  passage   in   1810,  says:   "This  has  always 

appeared  to  me  one  ot  the  nm>t  un-Shakspeai  ian  speeches  in  all  the 
genuine  works  of  our  poet  ;  yet  I  should  be  nothing  surprised,  and  great- 
ly pleased,  to  find  it  hereafter  a  fresh  beauty,  as  has  so  often  happened 
to  me  with  other  supposed  defects  of  great  men." 

In  1818,  he  adds  :  "  It  is  too  venturous  to  charge  a  passage  in  Shaks- 
peare  with  want  of  truth  to  nature  ;  and  yet  at  first  sight  this  speech  of 
Oliver's  expresses  truths  which  it  seems  almost  impossible  that  any 
mind  should  so  distinctly,  so  livelily,  and  so  voluntarily  have  presented 
to  itself  in  connection  with  feelings  and  intentions  so  malignant,  and  so 
contrary  to  those  which  the  qualities  expressed  would  naturally  have- 
called  forth.  Hut  I  dare  not  say  that  this  seeming  unnaturalness  is  not 
in  the  nature  of  an  abused  wiltulness,  when  united  with  a  strong  intel- 
lect. In  such  characters  there  is  sometimes  a  gloomy  self-gratification 
in  making  the  absoluteness  ot  the  will  {sit  fro  ratione  I'olitntas '.}  evident 
to  themselves  by  setting  the  reason  and  the  conscience  in  full  array 
against  it.'' 

149.  I-'nll  of  noble  titT/cf.     "Of  noble  conceptions  and  aims."     \Vr. 
adds   that   in    a   copy   of  the    fourth    folio    which    formerly   belonged    to 
Steevens    he    has    marked    these    lines    as    descriptive    of  Shakespeare 
himself. 

150.  S,>r/s.      Ranks,  classes.     Cf.  T.  A.  i.  i.  230  : 

"  With  voices  and  applause  of  every  sort, 
Patricians  and  plebeians,"  etc. 

152.  .I//.*/-/'/',,/.  Undervalued,  slighted.  Cf.  i.  2.  164  below,  and.-/.//', 
iii.  2.  33  ;  also  the  noun  tnisprision  in  A.  1C.  ii.  3.  159. 

154.  Kindle.  Incite.  Cf.  enkindle  in  Macb.  i.  3.  I  2  I.  Thither  thereto. 
On  -<>  about  -  set  about,  undertake,  see  .)/.  .V.  1).  p.  177. 


ACT  I.     SCEXE  II. 


141 


SCF.NE  II. — The  name  of  Rosalind,  here  taken  by  S.  from  Lodge, 
was  a  favourite  one  with  our  early  poets  (Haiti well). 

I.  Sweet  my  cm.  Cf.  J.  C.  ii.  I.  25  :  "dcai  my  lord,"  etc.  dr.  13.  C\>z 
was  the  common  abbreviation  ol  lOiisin,  on  the  use  ol  which  see  Kick.  II. 
p.  158. 

3.  /.     Not  in  the  folios  ;  inserted  by  Rowe. 

5.  Learn.  Teach;  but  always  with  the  object  expressed.  Cf.K.andjf. 
iii.  2.  12  :  ''  learn  me  how  to  love  ;"  Cymb.  \.  5.  12  :  "  learn'd  me  how  To 
make  perfumes,"  etc.  Gr.  291. 

8.  So.  See  on  i.  I.  85  above,  or  Gr.  133  ;  and  for  so  .  .  .  us,  in  n, 
Gr.  275. 

ii.  Tempered,  "Having  a  certain  state  or  quality,  conditioned" 
(Schmidt).  Cf.  T.  and.  C.  ii.  3.  265  : 

"were  your  days 
As  green  as  Ajax',  and  your  brain  so  temper' d,"  etc. 

See  also  Hen.  I',  p.  1 56. 

14.  A'<>r  none.     For  the  double  negative,  so  common  in  S.,  see  (ir.  406. 
Cf.  23  below. 

15.  Like.     Likely,  as  very  often  in  S.     Cf.  iv.  I.  63  below. 

1 6.  rerforce.     Here -by  force  ;  as  in   ('.  of  /:.  iv.  3.  95,  AY,//.  //.  ii.  3. 
121,  J/.  .V.  J).  ii.  i.  26,  etc.     Klsewhcre  it  is-  of  necessity  ;  as  in  M.  A'.  />. 
iii.  2.  90,  Hen.  I '.  v.  2.  161,  etc. 

17.  Render.     Give  back.     Cf.  ii.  5.  25  below;   also  M.  of  I',  iv.  I.  383, 
//<•//.  /'.  ii-4.  127,  etc. 

22.   Withal.     See  on  i.  I.  121  above. 

24.  A  f>itre  blush.  A  blush  and  no  more  (Schmidt  and  M.)  ;  or,  per- 
haps, a  blush  that  has  no  shame  in  it  (\Vr.).  Come  off  get  off,  escape  ; 
as  in  J/.  of  I',  i.  i.  128,  Cor.  ii.  2.  116,  etc. 

27.  The  good  housewife  Fortune,  etc.  Cf.  A  ani/  C.  iv.  15.  44  :  "That 
the  false  housewife  Fortune  break  her  wheel."  There,  as  in  Hen.  I',  v. 
i.  85  ("  Doth  Fortune  play  the  huswife  with  me  now?")  hottsevvife  or  lins- 
luife  (the  latter  is  the  usual  spelling  in  the  folio)  is  used  contemptuously 
—  hussy.  Cf. ///;//.  ii.  2.  515.  J.  11.  thinks  the  word  has  that  meaning 
here.  Fortune  is  represented  with  a  wheel,  as  Fluelen  explains  (Hen.  I'. 
iii.  6.  35),  "  to  signify  to  you,  which  is  the  moral  of  it,  that  she  is  turning, 
and  inconstant,  and  mutability,  and  variation." 

34.  Honest.     Chaste,  virtuous  ;   as  often.     Cf.  M.  W.  iv.  2.  107,  136,  etc. 

35.  Ill-fa-'onredly.      Ill-favoured,   ugly.     Cf.  iii.  5.  53:    "  iil-favour'd 
children."     Kowe  thought  it  necessary  to  substitute  ill-favoured  here  ; 
but  cf.  iii.  2.  215:   "looks  he  as  freshly,"  etc.     Schmidt   (p.  1418)  gives 
many  examples  of  this  use  of  adverbs  for  adjectives.      For  fa-'tntr-  face, 
see  J.  C.  p.  131  ;   and  cf.  lien,  xxix.  17,  xxxix.  6.  xli.  2,  },  4.  etc. 

36.  From    Fortune's  <'///«',  etc.      "  S.  constantly   harps   on   the   motive 
powers  of  human  action  :   nature,  destiny,  chance,  art,  custom.      In   tins 
place,  he  playfully  distinguishes  nature  from  chance  ;   in  \\7.  /'.  iv.  },  he 
argues  that  the  resources  ot  art  are  themselves  gifts  of  nature  : 

'  Nature  still   is  bettered  by  no  mean 
Hut   nature  made  that   mean.' 

In  .]/, !<•/>.  i.  3  he  shows  that  destiny  can  work  itself  without  our  help  I' if 


142 


ArOTES. 


chance  will  have  me  king,  why,  chance  may  crown  me '),  and  in  If  am.  !ii. 
4.  161,  he  splendidly  exhibits  the  force  of  custom  in  'almost  changing  the 
stamp  of  nature'  "  (M.). 

39.  When  Nature,  etc.  "  True  that  fortune  does  not  make  fair  feat- 
ures ;  but  she  can  mar  them  by  some  accident.  So  nature  makes  us 
able  to  philosophize,  chance  spoils  our  grave  philosophy  by  sending  us 
a  fool"  (M.). 

44,  Natural.     Fool,  idiot.     Cf.  Temp.  iii.  2.  37,  and  K.  and  J.  ii.  4. 96. 

47.  Who,  perceiving,  etc.  The  folio  reads:  "who  perceiueth  our  nat- 
ural! wits  too  dull  to  reason  of  such  goddesses,  hath  sent  this  Natural!, " 
etc.  Malone  inserted  "and"  before  hath;  the  reading  in  the  text  is 
that  of  the  2d  and  later  folios. 

M.  paraphrases  the  passage  thus:  "Or,  perhaps, on  the  other  hand, 
good  mother  Nature  thinks  us  so  dull  that  she  sends  us  her  '  natural '  to 
sharpen  our  wits." 

To  reason  of—\.n  talk  about,  discuss.     For  of,  see  Gr.  174. 

49.  Whetstone  of  the  wits.     The  title  of  Robert  Recorde's  Arithmetic 
is  "The  Whetstone  of  Witte." 

50.  Wit!  whither  -wander  yon  ?     "  Wit,  whither  wilt  ?"  (iv.  I.  151)  was 
a  proverbial  saying  ;  perhaps,  as  St.  suggests,  the  beginning  of  some  old 
ballad. 

58.  A  'aught.  Worthless,  bad.  Cf.  Afuch  Ado,  v.  i.  157  :  "  the  which  if 
I  do  not  carve  most  curiously,  say  my  knife's  naught ;"  Hen.  V.  i.  2.  73  : 
"corrupt  and  naught,"  etc.  The  word  in  this  sense  is  usually  spelled 
naught  in  the  early  eels.  ;  but  nought  when  it  means  nothing  (Schmidt). 

And  yet  urns  not  the  knight  fors'Morn.  Uoswcll  quotes  the  old  play  of 
Damon  and  Pithias : 

"  I  haue  taken  a  wise  othe  on  him :  have  I  not,  trow  ye, 
To  trust  yuch  a  false  knave  upon  his  honestie? 

As  he  is  an  honest  man  (qnoth  you  ?)  he  may  bewrny  all  to  the  kinge, 
And  breke  his  oth  for  this  never  a  whit.'" 

llalliwell  compares  Rich.  III.  iv.  4.  366  fol. 

73.  Old  Frederick.  The  reading  of  the  folios,  which,  however,  assign 
the  following  speech  to  Rosalind.  As  Frederick  was  Celia's  father  (v.  4. 
149!,  some  editors  have  changed  Frederick  to  "  Ferdinand  ;"  others  have 
given,  as  we  do,  the  next  speech  to  Cclia.  The  latter  seems  the  simpler 
way  out  of  the  difficulty  ;  and  such  errors  in  the  names  of  characters  are 
by  no  means  rare  in  the  early  eds. 

'74.  To  honour  him  enough.  The  pointing  of  the  folio.  Some  eds.  fol- 
low Hamner's  "to  honour  him:  enough!"  but  the  original  reading  is 
quite  in  the  manner  of  S. 

75.  Taxation.  Satire,  invective.  Cf.  tax  —  accuse,  inveigh  against,  in 
ii.  7.  71,  86  below  ;  also  in  Much  Ado,  i.  i.  46,  T.  and  C.  i.  3.  97,  Ham.  I. 
4.  1 8,  etc.  We  still  speak  of  "  taxing  a  person  with  "  anything. 

Whipping,  as  Douce  shows,  was  the  usual  punishment  of  fools. 

79.  Bv  HIV  troth.  The  most  common  form  of  the  petty  oath  of  which 
0'  HIV  troth  !  in  troth  !  good  troth  !  and  the  simple  troth .'  are  variations. 
For  troth  in  its  original  sense  ( ;  truth),  cf.  M.  A'.  D.  ii.  2.  36  :  "  to  speak 
troth  ;"  and  see  notes  in  our  ed.  pp.  151,  153. 


ACT  I.    SCEA'E  77. 


'43 


80.  Was  silenced.  "  Perhaps  referring  to  some  recent  inhibition  of  the 
players"  (Wr.). 

84.  Put  on  us.  Inflict  on  us,  force  upon  us;  or  perhaps  simply  — tell 
us,  as  Schmidt  and  Wr.  explain  it.  Cf.  M.  for  M.  ii.  2.  133,  T.  A',  v.  I. 
70,  Hum.  i.  3.  94,  etc. 

90.  Sport !  of  what  colour?  The  Coll.  MS.  gives  "Spot !"  and  Coll. 
suggests  that  Celia  is  ridiculing  Le  Beau's  affected  pronunciation  of  the 
word;  but  colour  may  be  =  kind,  as  Schmidt  makes  it.  Cf.  /.ear,  ii.  2. 
145  :  "a  fellow  of  the  self-same  colour,"  etc. 

94.  Laid  on  with  a  trowel.     This  was   no  doubt  a  proverbial   hit   at 
clumsy  or  gross  flattery  ;  but  M.  strangely  explains  it,  "  well  rounded  off 
into  a  jingle  ;  the  lines  being  pronounced 

'As  wit  and  fortune  will.     Or  as 
The  destinies  decree.'  " 

Schmidt  thinks  it  is  "probably  —  without  ceremony." 

95,  96.  Rank.    There  is  a  similar  play  upon  the  word  in  Cymb.  ii.  I.  17 
(Schmidt). 

97.  Amaze.  Confuse,  put  me  in  a  maze.  Cf.  lr.  and  A.  684:  "a 
labyrinth  to  amaze  his  foes;"  K.  John,  iv.  3.  140:  "I  am  ama/.'d,  me- 
thinks,  and  lose  my  way  ;"  M.  for  M.  iv.  2.  224  :  "  Vet  you  are  amazed  ; 
but  this  shall  absolutely  resolve  you,"  etc. 

101.  To  do.  A  common  idiomatic  use  of  the  infinitive  active.  Cf. 
T.  N.  iii.  2.  18  :  "  What 's  to  do  ?''  etc.  Gr.  359.  It  is  still  in  good  use 
in  many  phrases;  as  "a  house  to  let,"  for  which  some  over-fastidious 
folk  think  it  necessary  to  substitute  "  to  be  let." 

104,  Come*.  The  singular  verb  is  often  found  before  two  singular 
subjects  ((Jr.  336),  as  well  as  before  a  plural  subject  (Gr.  335) ;  and  here 
we  have  a  combination  of  the  two  cases. 

106.  Proper.  Comely.  See  RIer.  p.  132,  note  on  A  prefer  mail's  pict- 
ure. Cf.  Ileb.  xi.  23. 

108.  With  />ills  on  tlu'ir  necks.  Farmer  and  1).  would  make  these 
words  part  of  the  preceding  speech,  and  Coll.  favours  that  arrangement. 
The  bill  was  "a  kind  of  pike  or  halberd,  formerly  carried  by  the  English 
infantry,  and  afterwards  the  usual  weapon  of  watchmen  "  (Xares).  It 
was  also  used  by  foresters.  Lodge  describes  Rosader  "  with  his  forrest 
bill  on  his  necke,"  that  is,  on  his  shoulder.  For  the  play  upon  bill,  cf. 
Much  Ado,  iii.  3.  191  and  2  Hen.  /"/.  iv.  7.  135. 

On  the  whole,  we  think  that  the  entire  speech  belongs  to  Rosalind,  and 
that  the  main  pun,  so  to  speak,  is  on  presence  and  presents,  as  Johnson 
and  Capell  have  suggested.  Of  course  there  may  be  a  secondary  play  on 
the  two  senses  of  bills. 

1 1 1.   Which  Charles.     See  Gr.  269  ;  and  for  that- so  that,  Gr.  283. 

115.  Dole.  Grief.  Cf.  ,)/.  N.  D.  v.  i.  283  :  "What  dreadful  dole  is 
here  !"  Ham.  i.  2.  13  :  "  delight  and  dole,"  etc. 

125.  Broken  music.  Chappell  (quoted  by  Wr.)  says:  "Some  instru- 
ments, such  as  viols,  violins,  flutes,  etc.,  were  formerly  made  in  sets  of 
four,  which  when  played  together  formed  a  'consort.'  If  one  or  more  of 
the  instruments  ot  one  set  were  substituted  lor  the  corresponding  ones 
ol  another  set,  the  result  was  no  longer  a  'consort,'  but  'broken  music.''' 


144  NOTES. 

For  the  play  upon  the  expression,  cf.  Hen.  1T.  v.  2.  263  and  T.  and  C.  iii. 

i.  52. 

The  use  of  see  here  has  troubled  some  of  the  critics.  Warb.  wished  to 
read  "set,"  and  Heath  "get;"  but,  as  Johnson  remarks,  sec  is  used  col- 
loquially for  perception.  Cf.  Luke,  xii.  55  :  "see  the  south  wind  blow  ;" 
Pope,  OJyssev :  "  See  from  their  thrones  thy  kindred  monarchs  sigh, "etc. 
In  the  present  case,  we  might  say  that,  though  Rosalind  speaks  of  see- 
ing "  broken  music,"  she  has  in  mind  the  wrestling. 

137.  Looks   successfuliv.     Looks    as    if  he    would  be    successful.     Cf. 
lien.  I',  iv.  prol.  39  :   "  Hut  freshly  looks  ;"    Temp.  iii.  I.  32  :  "  You  look 
wearily  ;"  Kick,  111.  i.  4.  I  :  "  Why  looks  your  grace  so  heavily  to-day  ?" 
etc.     See  also  on  35  above. 

138.  Arc  you  crept!     Have  you  ere]);  ?     See  dr.  295. 
140.  So  please  von.     See  on  i.  1.85  above. 

142.  ///  the  men.  The  folios  have  "man,"  which  some  editors  retain, 
but  it  is  probably  a  misprint  for  "men." 

148.  The  princess  calls.  Theo.  changed  this  to  "the  princesses  call  :': 
Walker,  1).,  and  M.  take  "princess"  to  be  a  plural  (dr.  471).  Coll.  ex- 
plains the  passage  thus  :  "Cclia  had  desired  I.e  Beau  to  call  Orlando  to  her. 
and  Orlando,  seeing  two  ladies,  very  naturally  answers,  '  I  attend  ///</«.'  " 

157.  Your  eves,  etc.  Warb.  substituted  "our  eyes"  and  "our  judg- 
ment," as  does  the  Coll.  MS.;  but  the  meaning,  as  Johnson  notes,  is 
"  if  you  could  use  vour  o~u'n  eves  to  see,  or  vour  own  judgment  to  know 
yourself,  the  fear  oi  your  adventure  would  counsel  you." 

164.  Misprised.      See  on  i.  I.  152. 

165.  Might.     May.     Cf.  dr.  370,  371. 

167.  ll'r'terein.  Apparently  used,  as  other  relative  words  sometimes 
are,  before  th^  antecedent  clause  :  Punish  me  not  with  your  hard  thoughts 
for  denying  you  anything  ;  wherein  (in  doing  which)  I  confess  myself 
much  guilty.  Johnson  wished  to  read  "  therein,"  and  M.  Mason  "here- 
in." For  the  reflexive  use  of  me,  see  dr.  223. 

170.  Gracious.  Favoured,  acceptable.  Cf.  T.  A.  i.  I.  it  (cf.  170  and 
429) :  "gracious  in  the  eyes  of  Rome  ;"  3  //en.  I'f.  iii.  3.  117:  "gracious 
in  the  people's  eye."  Schmidt  makes  it  — happy,  fortunate. 

173.  Only,  etc.  That  is,  I  only  fill  up,  etc.  Cf.  Mach.  iii.  6.  2  :  "Only 
I  say  ;"  7-  C.  v.  4.  I  2  :  "  ( )nly  I  yield  to  die,"  etc.  dr.  420. 

185.  Working.  S.  often  uses  the  word  of  mental  operations  (Schmidt). 
Cf.  Soim.  93.  1 1,  M.  for  M.  ii.  i.  10,  /,.  /,.  /,.  iv.  i.  ^3,  etc. 

190.  )'('//   nic.ui,  etc.     Theo.   suggested   that    An    should   precede   this 
sentence,  an  I  M.  Mason  //";  but  no  change   is  called   for.      M.  remarks 
that  S.  seems  to  have  been  thinking  of  I  Kings,  xx.  1 1. 

191.  Come  your  ways.     Cf.  ii-3.  66  and  iv.  I.  165  below. 

ii)2.  Sf-eed.  Patron,  protector.  Cf.  //en. I',  v.  2.  104  :  "Saint  Dennis 
be  my  speed  !"  A'.  <in,l  7-  v.  3.  121  :  "  Saint  Francis  be  my  speed  !"  etc. 
The  won!  often  means  good  torlune.  success;  as  in  T.ofS.\\.  \.  I  }O, 
//•'.  /!  iii.  2.  146,  etc.  So  the  veil)  often  succeed  ;  as  in  A. II7.  iii.  7.  44, 
'/'.  (i.  i>f  I  .  iv.  4.  112,  etc.  It  is  also  used  in  wishing  success;  as  in 
.)/.  .V.  '/).  i.  I.  iSo  :  "dod  speed  fair  Helena  !"  etc.  See  also  Gen.  xxiv. 
12  and  2  John,  10,  1 1. 


ACT  I.    SCEXE  II.  !45 

197.  Should  down.     A  common  ellipsis  in  S.     See  dr.  405. 

199.  Well-breathed.  In  full  breath,  well  started.  Schmidt  compares  the 
Fr.  mis  fit  haleine.  Cf.  T.  of  S.  iiul.  2.  50 :  "  as  swift  As  breathed  stags  ;" 
A.  and  C.  iii.  13.  178:  "I  will  be  treble -siuew'd,  hearted,  bicath'd;" 
L.  L.  L.  v.  2.  659  : 

"A  man  so  breath' cl  that  certain  he  would  fi;.;ht  :  yeA 
From  morn  till  night." 

209.  Still.     Constantly.     Gr.  69. 

210.  Shouldst.     \Ve  should  say  "  wouldst."     dr.  322. 

216.  Calling.  "Appellation;  a  very  unusual,  if  not  unprecedented 
sense  of  the  word"  (Steevens).  Elsewhere  S.  uses  it  in  the  modern 
sense  ;  but  (with  the  exception  of /Vr.  iv.  2.  43)  only  of  the  ecclesiastical 
profession. 

221.  iTnto.  In  addition  to.  Cf.  Rich.  II.  v.  3.  97  :  "  Unto  my  mother's 
prayers  I  IXJIH!  my  knee."  For  to  in  the  same  sense,  see  dr.  185. 

225.  .-//  heart.  To  the  heart.  Cf.  T.  and  C.  iii.  2.  2O2.  For  the  omis- 
sion of  the  article,  see  Gr.  90. 

227.  But  justly  as.  Just  as,  only  as  (Caldecott).  Hanmer  and  Steevens 
omit  all.  The  2d  folio  has  "all  in." 

229.  This.     A  chain  ;  as  appears  from  iii.  2.  169. 

Out  of  suits,  etc.  Kither  "turned  out  of  the  service  of  Fortune  and 
stripped  of  her  livery"  (Steevens),  or  "out  of  her  books  or  graces" 
(Johnson).  "(Jut  of  sorts  "  is  an  anonymous  emendation. 

230.  Could.     Could  with  a  good  will,  would  like  to.     Cf.  A.  and  C.  i. 
2.  131  :  "The  hand  could  pluck  her  back  that  shov'd  her  on." 

232.  My  fatter  parts.  Caldecott  quotes  Macb.  \.  8.  18:  "For  it  hath 
cow'd  my  better  part  of  man." 

234.  A  quintain.  That  is,  a  mere  wooden  image  of  a  man.  The 
quintain,  in  its  simplest  form,  was  an  upright  post,  with  a  cross-bar  turn- 
ing on  a  pivot  at  the  top  ;  at  one  end  of  this  bar  was  a  broad  target,  at 
the  other  a  heavy  sand-bag.  The  sport  was  to  ride  at  full  speed  at  the 
target,  hit  it  with  a  lance,  and  get  out  of  the  way  before  the  sand-bag 
should  swing  round  and  strike  the  tilter  on  the  back.  The  figure  of  a 
Saracen,  with  a  shield  on  his  left  arm,  and  a  drawn  sabre  in  his  right 
hand,  sometimes  took  the  place  of  the  post  with  its  cross-bar.  Running 
at  the  quintain  is  said  to  have  been  a  favourite  sport  at  country  weddings 
in  Oxfordshire  as  late  as  the  end  of  the  ryth  century.  According  to 
llalliwell,  a  quintain  is  still  preserved  at  Offham,  in  Kent,  the  owner  of 
the  estate  being  obliged  under  some  ancient  tenure  to  support  it.  The 
same  editor  quotes  Minsheu,  Diet.  1617:  "A  quintainc  or  quintclle,  a 
game  in  request  at  marriages,  when  Jac  and  Tom,  Dick,  Hob  and  \\ill, 
strive  for  the  gay  garland  ;"'  also  Randolph,  Poems,  1642  : 

•'  Foot-Kill  with  us  may  be  with  them  balloone; 
As  th-jy  at  tills,  so  we  at  quint. line  run  ; 
And  those  o'd  pastimes  relish  best  with  me, 
Th.it  have  least  art,  and  most  simplieiiie." 

2,7.  O-'crt/iri^^'ii  nioir,  c!c.  C'f.  what  Celia  says  in  iii.  2.  io~  :  "If  is 
young  Orlando,  that  tripped  up  the  wrestler's  heels  and  your  heart  both 
in  an  instant." 


146  NOTES. 

239.  Hare  with  you.  I'll  go  with  you  ;  a  common  idiom.  Cf.  M.  JV. 
ii.  i.  161,  229,  239,  iii.  2.  93,  L.  L.  L.  iv.  2.  151,  Cor.  ii.  i.  286,  etc. 

241.  Conferenif.  Conversation;  as  often.  Cf.  Mueh  Ado,  ii.  3.  229; 
"the  conference  was  sadly  borne,"  etc.  For  the  measure,  see  (.Jr.  494. 

243.  Or  .  .  .  or.     See  Gr.  136. 

247.  Condition.     Temper,  disposition    (Johnson).     Cf.  M.  of  }'.  i.  2. 
143:  "the  condition  of  a  saint,"  etc    The  word  is  here  a  quadrisyllable. 
See  dr.  479. 

248.  Miseonstrues.     The  folio  has  "  misconsters,"  the  old  spelling  of 
the  word,  which  Halliwell  and  \V.  retain.     So  construe  was  spelled  and 
pronounced  "  conster." 

249.  Humorous.     Capricious.     Cf.  ii.  3.  8  and  iv.  i.  18  below.     See 
also  A'.  John,  iii.  i.  119:   "  her  humorous  ladyship  "  [Fortune],  etc. 

250.  /.     See  on  i.  i.  148  above,  and  cf.  iii.  2.  144  below. 

253.  Was.  Changed  by  Halliwell  to  "  were  ;"  but  see  Gr.  333  and  cf. 
412. 

255.  Smaller.  The  folio  has  "taller;"  but  cf.  i.  3.  113  and  iv.  3.  87 
below.  We  adopt  Malone's  emendation,  as  nearest  to  the  old  text. 
Cf.  Greene,  James  71'.:  "my  small  son."  "Shorter,"  "lower,"  and 
"  lesser "  are  other  modern  readings. 

262.  Argument.  Cause,  reason.  Cf.  iii.  I.  3  below  ;  also  M.  If.  ii.  2. 
256,  T.  A',  iii.  3.  12,  Kic/i.  III.  i.  i.  148,  etc. 

265.  On  ;//)'  life.  A  common  oath.  Cf.  M.  //'.  v.  5.  200,  If.  T.  \:  i.  4} 
etc.  So  O'  my  life'  (M.  If.  i.  I.  40),  by  my  life  (iv.  I.  143  and  v.  2.  65  be- 
low), etc. 

267.  /;/  a  better  world.  In  better  times.  C'f.  Rieh.  II.  iv.  i.  78:  "in 
this  new  world"  (this  new  state  of  things);  T.  and  C.  iii.  2.  180:  "in 
the  world  to  come"  (in  coming  time,  in  future  generations),  etc. 

269.  Rest.     Remain.     Cf.  M.  of  I',  i.  I.  152  :   "  rest  debtor  ;"  If.  T.  iii. 
3.  49  :   "still  rest  thine,"  etc.     See  also  iii.  2.  64  below.     On  bottndcn,  cf. 
A'.  John,  iii.  3.  29  ;  and  see  Gr.  344. 

270.  From  the  smoke,  etc.     That  is,  from  bad  to  worse.     Smother  =• 
"thick  and  suffocating  smoke"  (Schmidt). 

SCKNE  III. — ii.  My  cJiiid's  father.  That  is,  him  whom  I  hope  to 
marry.  Rowe  (2d  ed. )  changed  it  to  "my  father's  child,"  which  is  ap- 
proved by  Coleridge  and  11.,  and  adopted  by  K.,  I).,  and  Coll.,  who 
finds  it  in  the  Coll.  MS.  I!ut,  as  M.  remarks,  "  S.  would  have  smiled  at 
the  emendation."  The  original  reading  would  undoubtedly  be  indelicate 
now,  but  it  was  not  considered  so  in  the  poet's  day.  Hcsides,  the  change 
is  inconsistent  with  the  conduct  of  the  dialogue,  in  which  Rosalind  is 
represented  as  constantly  thinking  and  speaking  of  her  lover  (Halliwell), 
For  a  fuller  discussion  of  the  subject,  see  White's  Shakespeare's  Seholar. 

12.  This  ivorking-dav  world.  This  c\  cry-day  lite  of  ours.  C'f.  A.  and  C. 
i.  2.  55  :  "  but  a  worky-day  fortune." 

18.  Han  them  ttwav.  Cough  them  away;  as  if  the  "burs"  were  in 
her  throat  or  chest  (Si.).  In  eiy  hem  and  ha~'e  him,  there  is  perhaps  a 
play  on  hem  and  liim. 

26.  On  sin /i  a  sudden.     Not   elsewhere    used   by   S.      On  the  sudden 


ACT  I.    SCENE  III.  .147 

seems  to  be  his  favourite  phrase,  but  he  uses  also  on  a  sudden  and  of  a 
sudden.     With-im.     For  other  i>eculiar  uses  of  wit  A,  see  (jr.  193,  194. 

31.  Chase.     That  is, fallowing  the  argument;  "alluding,  possibly,  to 
the  deer,  quibbling  on  the  word  dearly"  (Ilalliwcll).     For  a  play  on  dear 
and  deer,  see  V.  and  A.  231,  AI.  IV.  v.  5.  18,  123,  L.  L.  L.  iv.  i.  1 15,  T.  of  S* 
v.  2.  56,  I  Hen.  IV.  v.  4.  107,  etc. 

32.  Dearly.     Heartily.     Cf.  Ham.  iv.  3.  43;   and  see    Temp.  p.  124 
(note  on   The  dear'st  o"  //*'  loss)  or  Kick.  JI.  p.  154. 

35.  Deserve  well.  Deserve  /'/  well  ;  that  is,  to  lie  hated.  Rosalind 
purposely  misinterprets  the  phrase.  Theo.  wished  to  read  "  Why  should 
1  hate?"  M alone  explains  it  thus:  "Celia  answers  Rosalind,  who  had 
desired  her  not  to  hate  Orlando,  as  if  she  had  said  love  him." 

39.  Safest  haste.    "The  haste  which  is  your  best  safety"  (M.).    "  Fast- 
est haste"  is  a  stupid  suggestion  of  the  Coll.  MS. 

40.  Cousin.    Niece ;  as  in  T.  N.  i.  3.  5,  T.  and  C.  i.  2. 44,  etc.    Elsewhere 
S.  uses  it  for  nephew,  uncle,  brother-in-law,  and  grandchild;   also  as  a 
mere  complimentary  form  of  address  between  princes,  etc. 

41.  If  that.     For  that  as  "a  conjunctional  affix,"  see  Gr.  287.     Cf.  47 
just  below. 

45.  If  with  myself,  etc.     If  I  know  my  own  mind. 

51.  J'urgatioH.  Exculpation.  Cf.  Hen.  I' 1 1 1.  v.  3.  152:  "and  fair 
purgation,"  etc.  See  also  v.  4.  43  below. 

61.  My  father  was  no  traitor.     "  Rosalind's  brave  spirit  will  not  allow 
her  to  defend  herself  at  her  father's  expense,  or  to  separate  her  cause 
from  his.     There  are  few  passages  in  S.  more  instinctively  true  and 
noble  than  this.     She  had  not  offended   her   uncle,  even   in  thought, 
though  every  one  else  was  doing  so.     But  the  least  suggestion  that  her 
father  is  a  traitor  rouses  her  in  arms  to  defend  him  "  (M.). 

62.  Good  my  liege.     See  on  i.  2.  I  above. 

63.  To  think.     As  to  think.     See  Gr.  281.     My  fewer -tv- :one  so  poor 
as  I. 

65.  Stay'd.     See  on  i.  i.  7  above. 

68.  Kemorse.     Pity,  compassion.     Cf.  M.  of  I',  iv.  i.  20  :   "mercy  and 
remorse  ;"  A'.  John,  iii.  4.  50  :   "  tears  of  soft  remorse,"  etc.     The  only 
meaning  of  remorseful  in  S.  is  compassionate,  and  of  remorseless  (as  in 
our  day)  pitiless. 

69.  That  time.     At  that  time.     Wr.  quotes  A.  and  C.  ii.  5.  18  : 

"That  time— ()  times! — 
I  laugh'd  him  out  of  patience." 

71.  Still.     See  on  i.  2.  209  above. 

72.  At  an  instant.     For  an  =  one,  see  Gr.  Si. 

73-  JHIIO'S  swans.  M.  says  "the  swans  which  draw  Juno's  chariot ;" 
but  we  are  not  aware  of  any  classical  authority  for  this.  Her  chariot 
was  drawn  by  peacocks,  as  S.  himself  makes  it  in  Temp.  iv.  I.  73.  \Vr. 
suggests  that  we  ought  to  read  "  Venus'  "  here,  as  Ovid  (Met.  x.  708) 
represents  her  as  drawn  by  swans  ;  but  S.  ( 7t'w/>.  iv.  i.  941  describes  her 
as  "clove-drawn,"  which  is  also  in  accordance  with  the  old  mythology. 
S.  probably  wrote  '•Juno's"  here1,  forgetting  or  confusing  the  ancient 
fables  for  the  moment,  as  the  Rugby  master  seems  to  have  done  above. 


148  MOTES. 

76.  Patience.     A  trisyllabic  here.     Gr.  479. 

79.  Slnm>.  Appear;  as  often  in  S.  C  1. 1',  and  A.  366  :  "  Show'd  like 
Iwo  silver  doves  ;"  K.  of  L.  ded.  5  :  "  my  duty  would  show  greater  ;" 
M.  of  V.  iv.  i.  196:  "doth  then  show  likest  God's,"  etc.  For  the  thought 
Wr.  compares  A.  and  C.  ii.  3.  2& : 

"Thy  lustre  thickens 
When  he  shines  by." 

85.  Provide  yourself.  Prepare  yourself,  get  ready  to  go.  Cf.  Ham.  iii. 
3.  7  :  "  We  will  ourselves  provide,"  etc. 

94.  Not  hath  not?    The  pointing  of  the  folio,  which  seems  well  enough. 
Sr. and  Halliwell  read  "no  hath  not ;"  and  the  latter  calls  it  "a  singular 
idiom,  found  also  in  other  plays,  which  perhaps  would  be  better  under- 
stood by  the  modern  reader  if  printed  no  "hath  not."1 " 

95.  Which  teacheth  thee,  etc.     "Which  ought  to  teach  you  as  it  has 
already  taught  me"  (M.).     Theo.  changed  thee  to  "me"  and  am  to 
"are  ;"  but  the  sense  does  not  require  the  former  change,  nor  the  gram- 
mar— that  is,  Elizabethan  grammar — the  latter  one.     Even  the  learned 
Hen  Jonson  could  write  (The  Fox,  ii.  i)  "both  it  and  I  am  at  your  ser- 
vice," and  (Cynthia's  Revels,  i.  i)  "My  thoughts  and  I  am  for  this  other 
element,  water."     Cf.  Gr.  412. 

100.  The  charge.  The  1st  folio  has  "your  change,"  the  other  folios 
"your  charge."  Sr.  proposed  the  charge,  which  D.  and  W.  adopt.  Ma- 
lone  explains  "your  change"  as  "your  change  or  reverse  of  fortune.'1'' 

102.  For,  by  this  hearen,  etc.  "  By  this  heaven,  or  the  light  of  heaven, 
with  its  lustre  faded  in  sympathy  with  our  feelings"  (Caldecott). 

105.  To  seek  my  uncle,  etc.  Campbell  remarks  :  "  Before  I  say  more 
of  this  dramatic  treasure,  I  must  absolve  myself  by  a  confession  as  to 
some  of  its  improbabilities.  Rosalind  asks  her  cousin  Celia,  'Whither 
shall  we  go?'  and  Celia  answers,  'To  seek  my  uncle  in  the  forest  of 
Arden.'  l>ut,  arrived  there,  and  having  purchased  a  cottage  and  sheep- 
farm,  neither  the  daughter  nor  niece  of  the  banished  Duke  seem  to 
trouble  themselves  much  to  inquire  about  either  father  or  uncle.  The 
lively  and  natural-hearted  Rosalind  discovers  no  impatience  to  embrace 
her  sire  until  she  has  finished  her  masked  courtship  with  Orlando.  But 
Rosalind  was  in  love,  as  I  have  been  wilh  the  comedy  these  forty  years ; 
and  love  is  blind — for  until  a  late  period  my  eyes  were  never  couched  so 
as  to  see  this  objection.  The  truth,  however,  is,  that  love  is  -wilfully 
blind  ;  and  now  that  my  eyes  are  opened,  I  shut  them  against  the  fault. 
Away  with  your  best-proved  improbabilities,  when  the  heart  has  been 
touched  and  the  fancy  fascinated  !  When  I  think  of  the  lovely  Mrs. 
Jordan  in  this  part,  I  have  no  more  desire  for  proofs  of  probability  on 
iliis  subject  (though  '  proofs  pellucid  as  the  morning  dews'),  than  for 
'ihe  cogent  logic  of  a  bailiffs  writ.'" 

108.   Beauty  provoketh  thieves,  etc.     Cf.  Milton,  Cotnus,  393: 


"  I'.ut  Beauty,  like  the  fair  Hesperian  tree, 
I.aden  with  blooming  gold,  had  need  the  guan 
(  It  dragon  watch  with  unenchanted  eye, 
To  save  her  blossoms  and  defend  her  Iruit,"  e 


ACT  II.     SCENE  /. 


149 


1 12.  Stir.    Excite,  rouse.    Cf.  IV.  T.  v.  3.  74  :  "I  am  sorry  I  have  thus 
far  stirred  you,"  etc. 

113.  Because  that.     See  on  41  above,  or  Gr.  287;  and  for  common^ 
Gr.  i. 

114.  Suit  me  all  points.     Dress  myself  in  all  respects.     For  the  omis- 
sion of  the  preposition,  see  Gr.  202. 

1 15.  Cin'iie-axe.     Cutlass.     It  is  the  Fr.  cotttelas,  which  from  the  form 
conrtelas  became  corrupted  into  curt/ass,  flirt/axe,  and  ctirtlc-axf.    These 
are  but  a  few  of  the  old  spellings,  but  will  serve  to  show  how  a  sword 
was  gradually  turned  into  an  "axe."     Spenser  (F.  Q.  iv.  2.  42)  calls  it 
"curtaxe."     Cut/ash  and  cut/ace  (Johnson)  were  later  forms.     For  the 
derivation  of  the  word,  see  Wb. 

118.  Swtis/iing.    Swaggering,  blustering.    Cf.  swasher  —  braggart,  bully, 
in  lien.  I',  iii.  2.  30.     Swashbuckler  was  used  in  the  same  sense.     Calde- 
colt  quotes  Antichrist,  1550:   "Swashing  abbottes,  which  will  be  called 
and  regarded  as  princes,  and  kepe  a  state,  as  if  they  were  lordes.'' 

119.  Mannish.     Cf.  C\ml>.  iv.  2.  236:   "though  now  our  voices  Have 
got  the  mannish  crack  ;"  and  T.  and  C.  iii.  3.  217  :  "A  woman  impudent 
and  mannish  grown." 

1 20.  Outface  it.     Face  it  out.     Cf.  Afitt/i  -•/</<>,  v.  I.  94:   "  Scambling, 
outfacing,  fashion -monging  boys."     For  the  use  of //,  see  Gr.  226. 

126.  Alieiia.     \Vr.  says,  "with   the  accent  on  the   second  syllable;" 
but  surely  Celia  is  a  trisyllabic,  as  in  65  above,  and  Aliena  accented  on 
the  penult,  as  it  ought  to  be. 

127.  Assa^ii.    Tried,  attempted.    Cf.  Oth.  ii.  3.  207  :  "Assays  to  lead 
the  way,"  etc. 

131.  ll'tv.  Solicit,  gain  over.  Cf.  Kick.  //.  i.  4.  28:  "Wooing  poor 
craftsmen  with  the  craft  of  smiles  ;"  T.  and  C.  iii.  I.  162  :  "  I  must  woo 
you  To  help  unarm  our  Hector,"  etc. 

135.  Go  ii'c  in  content.  The  leading  of  the  later  folios;  the  first  has 
"in  we."  Content  is  a  noun,  as  in  iii.  2.  24  below. 


ACT   II. 

SCENE  I. —  I.  Exile.  Accented  on  the  last  syllabic,  as  in  K.  ctint  y.  iii. 
3.  20,  140  (but  exile  in  13  and  43),  v.  3.  211,  etc.  S.  also  uses  the  verb 
with  both  accents. 

2.  Old  custom.     Continued  habit. 

5.  Here  feel  ii<e  not,  etc.  This  is  the  reading  of  the  folios,  retained  by 
Caldecott,  Halliwell,  K.,  V.,  and  II.  Most  editors  follow  Thco.  in  read- 
ing "feel  we  but."  K.,  following  Whiter,  thus  defends  the  old  text: 
"We  ask,  what  is  'the  penalty  of  Adam  ?'  All  the  commentators  say 
•the  seasons'  difference.'  <  >n  the  contrary,  it  \\.is,  '  In  the  sweat  of  thy 
tace  shall  thou  eat  bread.'  Milton  repiesetits  the  repentant  Adam  as 
iluis  interpreting  the  penalty  : 

'On   me   the  curse  ;i>li>pe 

Glanced  mi   llie  sioumi  ;   -n<i:h  iabonr  I  must  earn 
My  l/rcatt ;    \\l..ii   h.um?      Iiileiiuss  luul  been   --Miise.' 


!5o  NOTES. 

The  beautiful  passage  in  Cowper's  Task,  describing  the  Thresher,  will 

also  occur  to  the  reader  : 

'See  him  sweating  o'er  his  bread 
Before  he  eats  it.     *T  is  the  primal  curse, 
lint  soften* d  into  mercy;  made  the  pledge 
Of  cheeiful  days,  and  nights  without  a  groan.' 

'The  seasons'  difference,'  it  must  be  remembered,  was  ordained  before 
the  fall,  and  was  in  no  respect  a  penalty.  We  may  therefore  reject  the 
received  interpretation,  lint  how  could  the  Duke  say,  receiving  the 
passage  in  the  sense  we  have  suggested, 

'Here  feel  we  not  the  penalty  of  Adam?* 

In  the  first  act,  Charles  the  Wrestler,  describing  the  Duke  and  his  co- 
mates,  says,  they  '  fleet  the  time  carelessly  as  they  did  in  the  golden  iwr/i/.' 
One  of  the  characteristics  of  the  golden  world  is  thus  described  by 

Daniel : 

Oh!  happy  golden  agel 

Not  for  that  rivers  ran 
With  streams  of  milk  and  honey  dropp'd  from  nets; 

Not  that  the  earth  did  gage 

Unto  the  husbandman 
Her  voluntary  Hints,  tree  without  fees.' 

The  song  of  Amiens,  in  the  fifth  scene  of  this  act,  conveys,  we  think,  the 

same  allusion — 

'Who  doth  ambition  slum, 
And  loves  to  live  i'  the  sun, 
S?t'ki>ig  the  food  he  eats, 
And  pleas  d  until  iv/uit  he  gets? 

The  exiled  courtiers  led  a  life  without  toil — a  life  in  which  they  were 
contented  with  a  little — and  they  were  thus  exempt  from  the  'penalty  of 
Adam.'  We  close,  therefore,  the  sentence  at  '  Adam.'  '  The  seasons' 
difference  '  is  now  the  antecedent  of '  these  are  counsellors  ;'  the  freedom 
of  construction  common  to  Shakespeare  and  the  poets  of  his  time  fully 
warranting  this  acceptation  of  the  reading.  In  this  way,  the  Duke  says, 
'  The  differences  of  the  seasons  are  counsellors  that  teach  me  what  I  am  ; 
— as,  for  example,  the  winter's  wind — which,  when  it  blows  upon  my  body, 
I  snvle,  and  say,  this  is  no  flattery.'  We  may  add  that,  immediately  fol- 
lowing the  lines  we  have  quoted  from  the  Paradise  Lost,  Adam  alludes 
to  '  the  seasons'  difference,'  but  in  no  respect  as  part  of  the  curse : 

'  With  labour  I  must  earn 

My  bread;    what  harm?      Idleness  had  been  worse. 
My  labour  will  sustain  me;   and  lest  cold 
Or  heat  should  injure  us,  his  timely  care 
Hath  unbesought  provided,  and  his  hands 
Cloth' d  us  unworthy,  pitying  while  He  juclji'd. 
How  much  more,  if  ive  pray   Him.  will  liis  ear 
lie  open,  and  his  heart  to  pity  incline, 
And  teach   us  further  by  what  means  to  shun 
'I'll'  inclement  seasons,  rain,  ice,  hail,  and  snow.' 

On  the  other  hand,  W.,  Wr.,  and  M.  take  the  ground  that  "the  sea- 
sons' difference"  was  the  penalty  of  Adam.  Wr.  quotes  Hacon,  who 
says  that  in  the  golden  age  of  Paradise  there  was  "a  spring  all  the  yeal 
round  ;"  and  M.  refers  to  Milton,  P.  L.  x.  668-679. 


ACT  II.    SCENE  I.  151 

It  is  not  easy  to  choose  I>et\veen  the  two  readings,  and  in  such  cases 
our  rule  is  to  adhere  to  the  early  text.  \Ve  shall  not  quarrel  with  those 
who  prefer  the  very  plausible  emendation  of  Then. 

6.  As.  As  for  instance,  namely.  Cf.  iv.  3.  141  below.  See  also  Macb. 
v.  iii.  25,  etc.  Gr.  113. 

8.  Which.     As  to  which.     See  Gr.  272. 

13.  Like  the  toad,  etc.  Cf.  3  Hen.  1 7.  ii.  2.  138  :  "  venom  toads  ;"  Rich. 
III.  i.  2.  148 :  "  Never  hung  poison  on  a  fouler  toad,"  etc.  See  also 
Alacb.  p.  228.  Halliwell  says  that  a  woodcut  in  A  New  Years  Gifte  to 
the  Pope's  Holinessc,  1579,  represents  a  monk  of  Swinstead  Abl>ey  ex- 
tracting poison  from  a  toad,  with  which  he  poisons  King  fohn.  The  same 
editor  gives  many  quotations  to  show  that  better  naturalists  than  S.  be- 
lieved in  the  toad-stone,  the  "  precious  jewel "  of  the  text.  Fenton,  in  his 
Secrete  Wonders  of  Nature,  1569,  says  thai  "there  is  founde  in  the  heades 
of  old  and  great  toades,  a  stone  which  they  call  IJorax  or  Stelon  :  it  is 
most  commonly  founde  in  the  head  of  a  hec  toad,  of  power  to  repulse 
poysons,  and  that  it  is  a  most  soveraigne  medicine  for  the  stone."  The 
Italian  physician  Camillo,  in  his  Speculum  Lapidum,  describes  it  by  the 
names  of  IJorax,  Nosa,  and  Crapondinus,  and  as  being  lound  in  the  brain 
of  a  toad  just  killed.  Its  virtues  are  also  set  forth  in  Lupton's  Thou- 
sand Notable  Things,  1586,  in  TopsclPs  History  of  Serpents,  1608,  and 
by  other  learned  writers  of  the  time.  Fuller,  in  his  Church  History,  tells 
us  that  "  some  report  that  the  toad  before  her  death  sucks  up,  if  not 
prevented  with  sudden  reprisal,  the  precious  stone,  as  yet  but  a  jelly,  in 
her  head,  grudging  mankind  the  good  thereof." 

Allusions  to  the  toad-stone  are  frequent  in  the  literature  of  that  day. 
Meres,  in  his  Palladis  Tamia  (see  p.  IO  above),  says  :  "  As  the  fouie 
toade  hath  a  faire  stone  in  his  head  ;  the  fine  golcle  is  founde  in  the 
filthie  earth  ;  the  sweete  kernell  lyeth  in  the  harde  shell,"  etc.  Lyly, 
in  his  Eitphties,  also  says  that  "  the  foule  toad  hath  a  faire  stone  in  his 
head."  Cf.  IS.  and  F.,  Monsieur  Thomas: 

'•  in  most  physicians'  heads 
There  is  a  kind  in  loadstone  bred;" 

Hen  Jonson,  The  Fox:  "His  saffron  jewel   with  the   loadstone  in   it,'' 
etc. 

18.  I  -could  not  change  it.  The  folios  make  these  words  the  end  of  the 
preceding  speech,  but  Upton  has  been  generally  followed  in  transferring 
them  to  Amiens.  Capell  defends  the  old  text. 

21.  Go  and  kill  us.     See  on  i.  I.  68  ;  and  for  us,  Gr.  223. 

22.  Irks   me.     Cf.  the   Eton    Latin   Grammar:    "  Taedet,  it    irketh." 
See  also  i  Hen.  17.  i.  4.  105  :   "  it  irks  his  heart ;"  and  3  Hen.  17.  ii.  2.  6  : 
"it  irks  my  very  soul."     S.  uses  the  word  only  three  times.     Irksome  oc- 
curs in  iii.  5.  04  below. 

I''ool  is  sometimes  used  as  "a  term  of  endearment  or  pitv"  (Schmidt). 
Cf.  W.  '/'.  ii.  I.  iS  :  "  1  >o  not  weep,  poor  tools  ;"  }  //,•//.  /  7.  ii.  v  }(>  :  "  s" 
many  weeks  ere  the  poor  tools  will  ean,"  etc.  Halliwell  quotes  a  poem 
by  Harington,  addrosed  to  his  wife  : 

"Tim-  then    I   dm:  n-jnici-  in   that  thmi  grieve*!. 
And  ycl,  ^wcct   foo.e,   1  love   tliec,  thuu    uelccvtal  " 


'52 


A'OTES. 


23.  linrgficrs.     Citizens.     Cf.  Af.  of  V,  \.  I.  10  :   "Like   seniors   and 
rich  burghers  on  the  flood."     In  Sidney's  Arcadia  (quoted  by  Steevens) 
deer  are  called  "the  wild  burgesses  of  the  forest;"  and  in  Drayton's 
Poiyoibion  the  hart  is  "a  burgess  of  the  wood."     Malone  adds  from 

Lodge's  novel, 

"About  her  woiid'ring  stood 
The  citizens  of  ilie  wood." 

24.  Confines.     For  the  accent,  cf.  Sonn.  83.  4  :  "  In  whose  confine  im- 
mured is  the  store,"  etc.     S.  oftener  accents  it  on  the  first  syllable  ;  as 
in  y.  C.  iii.  I.  272  :  "  Shall  in  these  confines  with  a  monarch's  voice," 
etc.     Cf.  Gr.  490. 

Forked  heads.  Of  arrows.  Wr.  quotes  Ascham,  7\ixo/>/iilns :  "Com- 
niodus  the  Emperoure  vscd  forked  heades,  whose  facion  llerodaine  doeth 
lyuely  and  naturally  describe,  sayingc  that  they  were  lyke  the  shap  of  a 
new  mono  whcrwyth  he  would  smite  of  the  headc  of  a  birde  and  ncuer 
misse." 

26.  y,n/nes.     A  dissyllable,  as  always  in  S.     Cf.  A.  II'.  iii.  4.  4  :   "I  am 
Saint  Jaq  ties'   pilgrim,  thither  gone;"    Id.  iii.  5.  98:    "There's   four  or 
five,  to  great  Saint  Jaques  bound,"  etc. 

27.  ///  that  kind.     In  that  way.     Cf.  Much  Ado,  ii.  I.  70  :  "  if  the  prince 
do  solicit  you  in  that  kind,"  etc. 

30.  Lay  alcng.     Lay  at  full  length.     Cf.  y.  C.  iii.  I.  15  :  "That  now  on 
I'ompcy's  basis  lies  along,"  etc      See  also  iii.  2.  225  below. 

"  Shakspeare,"  said  Coleridge,  "  never  gives  a  description  of  rustic 
scenery  merely  for  its  own  sake,  or  to  show  how  well  he  can  paint  nat- 
ural  onjecta  :  he  is  never  tedious  or  elaborate  :  but  while  he  now  and 
then  displays  marvellous  accuracy  and  minuteness  ot  knowledge,  he 
usually  only  touches  upon  the  larger  features  and  broader  characteristics, 
leaving  the  fillings  up  to  the  imagination.  Thus,  in  As  )'i>u  Like  It,  he 
describes  an  oak  of  many  centuries'  growth  in  a  single  line — 

'Under  an  oak,  whose  antique  root  peeps  out.' 

Other  and  inferior  writers  would  have  dwelt    on   this  description,  and 
worked   it  out   with    all    the   pettiness    and   impertinence   of  detail.     In 
Shakspeare,  the  'antique'  rout  furnishes  the  whole  picture." 
Steevens  quotes  Gray's  Elegy,  101  : 

"There  at  the  foot  of  yonder  nodding  1<eerh 
Tint  wreathes  its  old  fantastic  roots  so  hij-h, 
His  listless  length  at   noontide  woiud   lie  si  vetch, 
And  ]>oie  upon  the  brook  that  babbles  by." 

31.  Antique..     Spelt  antique  or  antiek  in  the  early  eds.  without  regard 
to  the  meaning,  but  always  accented  on  the  first  syllable.     Se:  Alack. 

P-  -,U- 

^5.  .S'«///<  V<  v'</.  Separated  from  his  companions.  Cl.  /'../.  ii.  }.  75  : 
"  Why  are  you  seque>tcr'd  from  all  your  train?''  Here  the  accent  is  .MI 
the  first  syllable,  as  in  the  noun  in  Otli.  iii.  4.  40:  "A  sequester  fiom 
liberty,  fasting,  and  prayer."  In  7'.  and  C.  iii.  3.  S,  it  is  accented  as  in 
the  text. 

36.   The  wretched  animal,  etc.     In  a  marginal  note  to  a  similar  passage 


ACT  II.    SCEXE  I. 


'53 


In  Drayton's  /'oiyolbion,  it  is  said  that  "  the  hartc  weepcth  at  his  dying  : 
his  tears  are  held  to  be  precious  in  medicine."  We  frul  the  same  idea  in 
Batman,  Sidney,  and  other  writers  of  the  time.  Malone  quotes  Virgil, 
/En.  vii.  500  : 

"Saticius  at  quadrupes  nota  intra  tetia  refugit, 
Successitque  gcuiens  st;ibuhs;    questuquc.  cruentus, 
Aique  imploianti  siniili>,  tectuui  unuic   rcp.cvit." 

39.  Cotirs\l.  Chased.  Cf.  J/ui/'.  i.  6.  21  :  "We  cours'd  him  at  the 
heels,"  etc. 

41.  The  melancholy  Jnqncs.  M.  observes  :  "To  furnish  a  marked  con- 
trast to  these  characters  [Orlando,  Rosalind,  and  the  Duke] — to  assail 
them  one  after  another  with  attempts  to  shake  their  trust  in  mankind — 
to  whisper  sneers  against  love  ami  happiness — to  suggest  that  their  life, 
simple  though  it  is,  still  has  the  taint  of  the  world  upon  it — and  to  pat- 
ronize enthusiastically  such  rascalities  as  accident  biings  there — is  the 
part  assigned  to  the  melancholy  Jaques  ;  a  character  created,  with  con- 
summate skill,  to  throw  the  whole  meaning  of  the  play  into  a  clear  light, 
and  to  bring  out  the  moral  lesson  conveyed  by  it.  He  has  been  most 
profligate  in  his  youth;  has  travelled  in  Italy,  the  mother  of  all  iniqui- 
ties, to  gain  experience  there  ;  and  has  spent  his  estate  in  so  doing.  He 
is  therefore  persuaded  that  the  knowledge  of  huma.i  nature  which  he 
has  thus  gained  will  be  of  great  service  to  the  world,  if  it  can  only  be 
induced  to  listen.  But  how  instantly  and  humiliatingly  is  he  put  to  rout 
by  the  three  glad  hearts  that  lie  tries  to  sour!  Orlando  absolutely  re- 
fuses to  rail  against  the  world  in  his  company,  and  reciprocates  with  a 
hearty  good  will,  though  jocosely,  all  Jaques'  expressions  of  antipathy  to 
his  ways  of  thinking.  Rosalind  sarcastically  asks  hiu.  about  his  travels. 
What  have  they  done  for  him?  Has  he  learned  to  despise  home  dress 
and  home  manners?  sold  his  own  lands  to  sec  other  people's?  learned 
to  chide  God  for  making  him  the  countryman  he  is?  And  what  is  this 
melancholy  of  which  he  boasts?  Something  as  bad  or  worse  than  the 
most  giddy  merriment  ;  something  that  incapacitates  him  from  action  as 
completely  and  more  permanently  than  drunkcnnes;.  Above  all,  the 
Duke  tells  him,  without  the  slightest  reserve,  although  with  perfect  good 
humour,  that  his  gifts  as  a  moralist  can  do  nothing  for  the  world;  that 
his  former  life  unfits  him  to  be  a  reformer;  that  if  he  attempts  such  a 
task,  he  will  only  corrupt  the  world  by  his  experience  ;  and  to  all  these 
bufferings,  right  hand  and  left,  Jaqucs  replies  in  a  way  which  shows  that 
he  is  incapable  of  understanding  their  depth  of  mea.iing.  lie  escapes 
from  Rosalind  and  Orlando  because  he  does  not  like  the  'blank  verse' 
they  talk  ;  and  shirks  the  admonition  of  the  Duke  and  all  its  serious 
wisdom,  by  arguing  that  no  one  would  have  a  right  to  be  offended  by 
satire  of  a  general  character,  or  need  apply  it  to  himself — as  if  the  Duke 
had  been  admonishing  him  to  avoid  olieiiding  other.-,  and  not  to  avoid 
corrupting  others."' 

For  a  similar  (but  earlier)  view  of  Jaques's  character,  see  White's 
Shakespeare  s  Scholar  (New  York,  1X54)  or  his  Tale  of  the  /v/v.v/  of  Ar- 
licit  in  the  Galaxy  for  April,  1875.  "in  the  latter  he  rcmaiks:  "What 
Jaques  called  melancholy  was  what  we  now  call  cynicism — a  sullen, 


154 


NOTES. 


scoffing,  snarling  spiiit.  And  this  Jaques  had.  He  was  simply  a  cynic, 
and  a  very  bitter  one.  .  .  .  He  was  one  of  those  men  who  believe  in 
nothing  gooJ,  and  who,  as  the  reason  of  their  lack  of  faith  in  human 
nature  and  of  hope  of  human  happiness,  and  their  want  of  charity,  tell 
us  that  they  have  seen  the  world.  ...  In  brief,  Jaques  was  Falstaff,  with- 
out his  fat  and  his  humour." 

See  also  Gervinus,  Shakespeare  Commentaries,  trans,  by  Miss  Bunnctt, 
revised  ed.  (1875),  p.  393  fol.* 

42.  7'/;'  extreinest  verge.  The  very  edge.  S.  accents  extreme  on  the 
first  syllable,  except  in  Sonn.  129.4,  10  (Schmidt).  Extremest,  which  he 
uses  often,  has  the  modern  accent.  Cf.  AI.  of  V.  i.  i.  138,  Kick.  II.  iv.  i. 
47.  etc. 

44.  Moralize.  Moralize  upon,  draw  a  moral  from.  Cf.  T.  of  S.  iv.  4. 
81  :  "1  pray  thce,  moralize  them,"  etc. 

46.  Into.     Changed  by  Tope  to  "  in."     Cf.  Gr.  159. 

Needless.  Not  needing  it.  Cf.  care/ess = \mcared  for  (Afacb.  i.  4.  11), 
sii^/ith-ss  —  unseen  (Afacb.  i.  7.  23),  etc.  Gr.4.  Steevens  quotes  L.  C.  38-40 
and  3  Hen.  VI.  v.  4.  8. 

49.  Heing  there.     As  to  his  being  there. 

50.  Of.      Hy.      (Jr.  170.      Velvet- "sleek  and   prosperous"  (Wr.),  or 
"soft,  delicate  "  (Schmidt).     The  folios  have  "friend,"  which  Halliwell, 
K.,  and  V.  retain. 

52.  h'lnx.  Flow,  confluence.  S.  uses  the  word  only  here  and  in  iii. 
2.  63  below. 

57.  bankrupt.  M.  remarks  :  "  A  few  dates  will  show  the  painful  re- 
ality of  this  simile  to  S.  His  own  father  had  been  bankrupt  at  Strat- 


*  On  the  oilier  hand.  Hudson  (XhtikespearS  s  Life.  Art,  and  Characters.  1872,  vol.  i. 
p.  343)  says:  "Jaques  is,  I  believe,  an  universal  favourite,  as  indeed  lie  well  may  be,  for 
he  is  certainly  one  of  llie  Poet's  happiest  conceptions.  .  .  .  Shedding  the  twilight  of  his 
tnerry-sad  spirit  over  all  the  darker  spots  of  human  life  and  character,  he  represents  tlie 
abstract  and  sum-total  of  an  utterly  useless  yet  perfectly  hatmless  man,  seeking  wisdom 
by  abjuring  its  first  principle.  .  .  .  On  the  whole,  if  in  Touchstone  there  is  much  of  the 
philosopher  in  the  fool,  in  Jaques  there  is  not  less  of  the  tool  in  ihe  philosopher  ;  so  that 
the  German  critic,  Ulrici,  is  not  so  wide  of  the  maik  in  calling  them  '  two  tools.'  " 

Ulrici  (Shaksfi fare's  Dramatic  Art.  trans,  from  the  3d.  ed.  by  L.  D.  Schmitz,  1876, 
vol.  ii.  p.  18)  says:  ''The  melancholy  Jaques  is  not  the  fool  by  profession,  he  appears 
rather  to  be  simply  a  comic  character  far  cxcellenct ;  but  his  meditative  superficiality, 
his  witty  sentimentality,  his  merry  sadness,  have  taken  so  complete  a  hold  of  his  nature, 
that  it  seems  to  contradict  itself,  and  therefore  upon  a  closer  examination  distinctly  bears 
the  impress  of  folly,  although  it  certainly  is  an  original  kind  of  folly  " 

Dowden  (see  p  20  above1  remarks  :  "  The  melancholy  ot  Jaques  is  not  grave  and  earn- 
est, but  sentimental,  a  self-indulgent  humour,  a  petted  foible  of  character,  melancholy 
prepense  and  cultivated.  .  .  .  Jaques  died,  we  know  not  how  or  when  or  where  ;  but  he 
came  to  life  again  a  century  later,  and  appeared  in  the  world  as  an  Knghsh  clergyman  ; 
we  need  stand  in  no  doubt  as  to  his  character,  for  we  all  know  him  under  his  later  name 
'if  I.awicnce  Sterne.  .  .  .  His  whole  life  js  unsubstantial  and  unreal  ;  a  curiosity  of  dainty 
mockery.  To  him  'all  the  world  's  a  stage,  and  all  the  men  and  women  merely  players  ;' 
to  him  sentiment  stands  in  place  ot  passion  :  an  isthetic,  amateurish  excellence  of  various 
modes  of  life  stands  in  piace  ofpracttc.il  wisdom  ;  and  wouls  in  place  of  deeds.  .  .  .  The 
world,  not  as  it  is,  but  as  it  mirrors  itself  in  his  own  mind,  which  gives  to  each  object  a 
humorous  distortion;  this  is  what  alone  interests  Jaques.  Shakspere  would  sav  to  us, 
1  This  egotistic,  contemplative,  unreal  manner  of  teaching  life  is  only  a  delicate  kind  of 
fooiery.  Heal  knowledge  of  life  <MII  never  be  acquired  by  the  curious  seeker  for  expe- 
diences.' But  this  Shakspere  bays  in  his  non-hortatory,  undogmatic  way." 


ACT  II.     SCENES  II.  AND  III.  155 

ford.  From  1579  he  had  been  'warned,'  and  had  ceased  to  attend  the 
market.  In  1586  he  was  superseded  in  his  position  as  alderman  ;  and 
in  1592  it  is  mentioned  that  he  'coome  not  to  churche  for  feare  ot" 
processe  for  debt.'" 

59.  The  country.  The  article  is  omitted  in  the  1st  folio,  but  inserted 
in  the  2d.  The  body  —  "the  whole  system  "  (M.). 

62.  Up.  Often  used,  as  now,  to  "  impart  to  verbs  the  sense  of  comple- 
tion "  (Schmidt).  Cf.  "dries  up  "(/'.  <;W  .-/.  756),  "burnt  up"  (Temp. 
iii.  I.  17),  "  mould  up  "  (I/en.  VIII.  v.  5.  27),  "  poisons  up  "  (/,.  L.  L.  iv.  3. 
305),  etc.  Caldecott  quotes  Robinson's  trans,  of  More's  Utopia:  "okie 
age  kylleth  them  vp  ;"  and  Ascham,  Toxophilus :  "  were  quyte  slayne  vp." 

67.  Cope.     Encounter.     Cf.  Hen.  /'///.  i.  2.  78  :  "  to  cope  malicious 
censurers  ;"  V.  and  A.  888  :  "  who  shall  cope  him  first  ?"  etc. 

68.  Matter.     Good  sense.     Cf.  Much  Ado,  ii.  i.  344:  "all  mirth  and 
no  matter  ;"  Ham.  ii.  2.  95  :  "  more  matter  with  less  art,''  etc. 

SCENK  II. — 3.  Are  of  consent  and  sufferance.  That  is,  have  connived 
at  it  and  allowed  it.  M.  says  :  "This  is  a  quasi-legal  term,  applied  to  a 
landlord  who  takes  no  steps  to  eject  a  tenant  whose  time  is  expired." 

7.  Untreasur'd.     Used  by  S.  only  here  ;  and  treasure  (^enrich)  only 
in  Sonn.  6.  3. 

8.  Kovnish.     Scurvy,  mean  (Fr.  rogneiix).     Cf.  ronyon  (Macb.  i.  3.  6 
and  M.W.  iv.  2.  195),  which  has  the  same  origin. 

13.  /'arts.  (lifts,  qualities;  as  in  i.  I.  131  above.  Cf.  L.  L.  L.  iv.  2. 
Il8:  "I  thy  parts  admire,"  etc.  Graces  —  attractions.  Cf.  Sonn.  103. 
12  :  "your  graces  and  your  gifts."  Wrestler  is  here  a  trisyllable.  See 
Gr.  477. 

17.  Brother.  M.  Mason  suggested  "brother's,"  since  the  gallant  is 
Orlando. 

19.  Suddenly.     Quickly.     Cf.  M.  IV.  iv.  i.  6  :  "Mistress  Ford  desires 
you  to  come  suddenly."     See  also  ii.  4.  95  below. 

20.  Inquisition.     Inquiry  ;  as  in  the  only  other  instance  of  the  word 
in  S.  (Temp.  i.  2.  35).     (2/'<'/'/  =  flag,  slacken. 

SCENE  III. — 3.  Memory.     Memorial,  reminder.     Cf.  Cor.  iv.  5.  77  : 

"a  pood  memory 

And  witness  of  ihe  malice  and  riisjileasur 
Which  them  shoulcist  bear  me." 

4.   What  make  you  here?     Cf.  i.  I.  26  and  iii.  2.  206. 

7.  So  fond,  etc.     So  foolish  as.     Gr.  281.     Cf.  M.  of  T.  iii.  3.  9  : 

"  I  do  wonder, 

Thou  naughty  gaoler,  that  thou  art  so  fond 
To  come  abroad  with  iiim  at  his  request." 

On  fond,  see  /1/iv.  p.  1^2. 

8.  The  bonny  priser.     The  gallant   prixe-fighter.     The    1st  folio   has 
"bonnie,"  the  later  fnlios  "  bonny."     \Yarb.  changed  it  to  "  bony  "(  =  big- 
boned,  sturdy),  but  S.  docs  not  use  the  word  elsewhere,  and  it  is  doubtful 
whether  it  had  that  sense  in   his  day.      He  has  bonny  several   times-- 
blithe,  and  once  (2  lien.  17.  v.  2.  12  :   "  the  bonny  beast  he  lov'd  so  well  ") 


156  NOTES. 

with  quite  the  same  force  as  here.  Priser,  or  friztr,  he  uses  only  here 
and  in  T.  and  C.  ii.  2.  56,  where  it  is  =  appraiser.  Fur  humorous  see  on  i. 
2.  249. 

12.  No  more  do  yours.  Schmidt  makes  no  w0;v  =  as  much,  and  adds 
that  "  we  should  expect  no  less."  He  finds  a  parallel  instance  in  the 
troublesome  passage  in  A.  IV.  i.  3.  170 :  "I  care  no  more  for  than  I  do 
for  heaven,"  etc.  It  is  really  to  be  classed,  we  think,  with  the  many  pe- 
culiar cases  of  "double  negative"  which  lie  discusses  in  his  Appendix, 
p.  1420  ;  such  as  / '.  and  A.  478  :  "To  mend  the  hurt  that  his  unkindness 
marr'd  "  (where  marr\i — we  should  say  made — duplicates  the  idea  in 
hurt) ;  Af.  of  I',  iv.  i.  162  :  "  Let  his  lack  of  years  be  no  impediment  to 
let  him  lack  a  reverend  estimation"  (either=no  motive  to  let  him  lack, 
or  — no  impediment  to  let  him  have)  ;  Cvnib.  i.  4.  23:  "a  beggar  without 
less  quality"  (="with  less,"  or  "without  more,"  both  of  which  have 
been  proposed  as  emendations),  etc.  In  the  present  passage  but  as  cne- 
Wfiev  =  nothing  else  than  enemies,  and  No  more  do  yours  is  an  emphatic 
reiteration  of  the  implied  negative. 

There  are  other  passages,  as  Schmidt  has  noted,  in  which  "a  negative 
seems  to  be  wanting,  as  being  borne  in  mind,  though  not  expressed  ;"  as 
iii.  2.  27  below  :  "  he  that  hath  learned  no  wit  by  nature  nor  art  may  com- 
plain of  good  breeding"  (that  is,  of  not  having  had  good  breeding),  etc. 
See  also  on  ii.  4.  70  below. 

15.  Envenoms.  I'oisons.  Cf.  A".  Jo/in,  iii.  i.  63,  Ham.  iv.  7.  104,  etc. 
There  may  be  an  allusion  to  the  poisoned  garment  and  diadem  which 
Medea  sent  to  Creusa,  or  the  poisoned  tunic  of  Hercules  (\Vr.). 

17.  Within.  Capell  would  read  "beneath;"  but  1).  compares  Chap- 
man, Odyss.  xiv.  279  :  "  Within  your  roofe  ;"  and  Wr.  quotes  15.  and  !•'., 
Lo-t'cs  Pilgrimage,  iv.  I  :  "  Knter  my  root." 

23.  [7se.  Are  accustomed.  \Ve  still  use  the  past  tense  of  the  verb  in 
this  sense,  but  not  the  present.  Cf.  Temp.  ii.  i.  175  :  "they  always  use 
to  laugh  at  nothing  ;"  T.  X.  ii.  5.  104:  "with  which  she  uses  to  seal  ;" 
A.  and  C.  ii.  5.  32  :  "  we  use  To  say  the  dead  are  well,"  etc.  See  also 
Milton,  Lycidas,6'j  :  "  Were  it  not  better  clone,  as  others  use,"  etc. 

26.  Practices.     Plottings.     Cf.  Hen.  I',  ii.  2.  90  :    "  the   practices  of 
France  ;"  Id.  ii.  2.  144  :   "  And  God  acquit  them  of  their  practices  !"  etc. 

27.  Place.     That  is,  "place  for  you"  (M.  Mason).     Cf.  Fletcher,  Mad 
Lover,  i.  2  : 

"  Mf union.   Why  were  there  not  such  women  in  the  camp  then, 

1'repar'd  to  make  me  know  'em? 
Eittnenes.  'T  was  no  place,  sir." 

Or,  perhaps, //rt*tf= dwelling-place,  residence  ;  as  Schmidt  explains  it. 
Cf.  L.  C.  82  :  "  Love  lack'd  a  dwelling,  and  made  him  her  place  ;"  A'ie/i. 
III.  iii.  i.  6<)  :  "  Did  fulius  Caesar  build  that  place  [the  Tower],  my  lord  ?" 
So  "Crosby  Place'1  (the  quarto  reading  in  Kich.  I/I.  i.  2.  21],  etc.)  — 
Crosby  House  ;  "  Kltham  Place  "  (i  Hen.  /  7.  iii.  i.  156)  —  Kltham  House, 
etc. 

Ilutchery  here  =slaughter-housc  ;  elsewhere  (as  in  Kich.  III.  i.  2.  54, 
ICO,  etc.)  slaughter. 

36.  Su/'jeet.     \Yr.  remarks  :   "  with  the  accent  on  the  last  syllable,  as 


ACT  II.     SCEA'E  III. 


'57 


m  Temp.  \.  2.  114."  This  is  the  modern  pronunciation  of  the  verb,  at 
least  in  this  country  ;  ami  it  is  the  only  oile  in  S.  See  A'ic/t.  II.  iii.  2. 
176  and  A".  John,  i.  I.  264,  which  are  the  only  other  instances. 

37.  Diverted  biood.  Alienated  or  perverted  relationship.  The  Coll. 
MS.  has  "  a  diverted,  proud,  and  bloody  brother,"  but  Coll.  does  not  put 
it  in  his  text. 

39.  The  thrifty  hire  I  saved.  That  is,  the  wages  which  I  was  thrifty  in 
saving.  The  adjective  is  proleptic,  as  in  ii.  7.  132  :  "two  weak  evils." 
Cf.  also  Aided.  \.  3.  84:  "the  insane  root;"  Id.  iii.  4.  76:  "the  gentle 
weal,"  etc. 

42.  Thrown.    For  the  ellipsis  of  the  auxiliary,  see  Gr.  403.    "Be  lame" 
has  been  suggested  to  obviate  the  irregularity  in  construction,  but  no 
change  is  called  for. 

43,  44.     Cf.  Job  xxxviii.  41,  Psalms  Ixxxiv.  3,  cxlvii.  9,  Matt.  x.  29,  and 
Luke  xii.  6,  24. 

49.  In  my  blood.     "These  words  seem  by  a  kind  of  zeugma  to  belong 
both  to  the  verb  apply  and  to  the  adjectives  hot  and  rebellions''''  (M.j. 
Capell  wished  to  read  "  to  my  blood." 

50.  A'or  did  not.     Cf.  ii.  4.  8  below.     Gr.  406.     L'nbashfnl=  shameless. 
Woo  the  means  —  seek  pleasures  that  are  the  cause. 

57.  Constant.     Faithful.      Cf.  Hen.  I',  ii.  2.  5:     "Constant  loyalty;" 

Cymb.  i.  5.  75  : 

lla  sly  and  constant  knave, 
Not  to  be  shak'd,"  etc. 

For  sen'ice  the  Coll.  MS.  substitutes  "  favour  ;"  and  somebody  has  sug- 
gested "servants"  for  sen-ice  in  the  next  line.  No  change  is  necessary. 
Cf.  the  repetition  of  swat  and  liaring  in  the  context,  and  many  similar 
repetitions  elsewhere  in  S. 

58.  Sweat.     I'ast  tense;  as  in  /!/.  of  V.  iii.  2.  205,  I  fen.  /"///.  ii.  i.  3^, 
etc.     It  is  also  used  for  the  participle  ;  as  in  T.  of  A.  iii.  2.  28.    Cf.  Gr.  341. 

60.  Promotion.     A  quadrisyllable.     See  on  i.  2.  247.  and  cf.  i.  3.  76. 

61.  And  having,  etc.     "  F.ven  with  the  promotion  gained  by  service  is 
service  extinguished"  (Johnson). 

63.  A  rotten  tree.  M.  remarks  here  :  "  Orlando  fays  melancholy  things. 
as  in  i.  2  ;  but  his  elastic  mind  rises  instantly  from  such  thoughts  ;  and 
in  a  few  moments  he  anticipates  'some  settled  low  content.'  A  fine  in- 
stance of  the  same  manly  temper  is  found  in  Iliad  vi.,  where  Hector  at 
one  moment  dwells  sorrowfully  on  his  wife's  inevitable  doom  of  slavery 
nt  Argos  (447-465),  and  the  next  thinks  of  her  as  a  joyful  Trojan  mother 
welcoming  back  her  victorious  son  (476-481)." 

65.  In  lit  it  i'/.     In  return  for  ;  the  only  meaning  in  S.     Cf.  /..  /..  L.  iii. 
I.  130.  .!/.  of  I '.  iv.  I.  410,  Hen.  I',  i.  2.  255,  etc. 

66.  Conic  iJiy  -i<avs.      See  on  i.  2.  191  above. 

68.  Sonic  settled  Iinv  content.  Some  place  where  we  may  get  a  humble 
living  and  settle  down  contented  ;  a  good  example  of  Shakespearian  con- 
densation ot  language. 

71.  SiTcntfen.  The  folios  have  "scnuentic"  or  "seventy,"  \\hiih 
Kowe  corrected. 

74.  Too  Ittti  a  uvrX'.     Probably  a  proverbial  phrase,  like  a  "  day  too  late 


I58  NOTES. 

for  the  fair."  Wr.  thinks  that  a  week  may  be  =  "i'  the  week."  Cf. 
a-night,  ii.  4.  44  below. 

SCENE  IV.— I.  Weary.  The  folios  have  "merry,"  which  was  cor- 
rected by  Theo.  Whiter  and  Hallivvell  retain  "merry,"  on  the  ground 
that  Rosalind  is  trying  to  comfort  Celia  by  an  assumed  cheerfulness. 

4.  /  cmdd find  in  my  heart.     I  am  almost  inclined.     Cf.  C.  of  E.  iv.  4. 
16 :  "I  could  find  in  my  heart  to  stay  here ;"  A.  W.  ii.  5.  13  :  "I  cannot 
yet  find  in  my  heart  to  repent,"  etc.     In  Much  Ado,  iii.  5.  24  it  is  "  find 
it  in  my  heart." 

5.  7 he  weaker  vessel.     Cf.  I  Pet.  iii.  7. 

6.  Doublet  and  hose.    Coat  and  breeches.    According  to  Fairholt  (Cos- 
tume in  England,  quoted  by  Wr.)  the  doublet  was  so  called  from  "being 
made  of  double  stuff  padded  between.  .  .  .  The  doublet  was  close,  and 
fitted  tightly  to  the  body  ;  the  skirts  reaching  a  little  below  the  girdle." 
The  same  writer  says  of  hose,  "  This  word,  now  applied  solely  to  the 
stocking,  was  originally  used  to  imply  the  breeches  or  chausses." 

9.  I  "had  rather.     Good  old  English,  like  had  as  lief,  etc.     See  on  i.  i. 
133  above,  or  Mer.  p.  132. 

For  the  play  on  bear  and  bear  ivilh,  cf.  T.  G.  of  V.  i.  i.  125  and  Rich.  III. 
iii.  i.  128. 

10.  Bear  no  cross.     The  old  English  penny  was  called  a  cross  from 
bearing  the  impress  of  one.     For  the  play  upon  the  word,  cf.  2  Hen.  IV. 
i  2.  253.     Halliwell  quotes  Heywood,  Epigrammes : 

"  It  will  make  a  cross  on  this  gate,  yea  crosse  no; 
Thy  crosses  be  on  thy  gates  all,  in  thy  purse  no." 

16.  Look  you.     Cf.  Ham.  iii.  2.  132,  etc.     In  W.T.  iii.  3.  116  we  have 
"  look  thee  "  (Gr.  212).     Some  eds.  point  "  who  comes  here  ?" 

17.  Solemn  talk.    Earnest  or  serious  conversation.    Cf.  Oth.  v.  2.  227,  etc. 
27.  Fantasy.     Love  ;   like  fancy  (cf.  iii.  5.  29  and  v.  4.  14^),  which   is 

only  a  contracted  form  of  the  same  word.  It  occurs  again  in  the  same 
sense  in  v.  2.  87  below. 

•^4.  Wearing.  The  reading  of  the  ist  folio ;  the  later  ones  have 
"  Wearying,"  which  means  the  same.  Cf.  A .  W.  v.  i.  4  :  "  To  wear  your 
gentle  limbs  in  my  affairs."  Whiter  quotes  Ben  Jonson,  Masque  of  the 
(•ypsies :  "Only  time  and  ears  out-wearing."  W.  prints  "wear'ing." 

36.  Broke.     Cf.  spoke  in  i.  i.  78.     Gr.  343. 

40.  Searching  of.     In  searching  of,  or  a-searching  of.     See  Gr.  178. 

41.  By  hard  adventure.     By  bad  luck,  unfortunately. 

44.  A -night.     By    night.     Gr.  24.     Cf.   Chaucer,   Legende  of  Goode 

Women,  1473  : 

"  yf  that  any  straunge  wygnte 
With  tempest  thider  were  yblow  anyghte.' 

45.  Batlet.     The  small  bat  used  for  beating   clothes  while  washing 
th^m.     The  1st  folio  has  "batler,"  which  has  the  same  meaning,  and  is 
iftaincd  by  Halliwell,  V.,  and  W. 

Chopt- chapped.  Cf.  J.  C.  i.  2.  246  :  "  their  chopt  hands,"  etc.  Wr. 
quotes  Cotgrave,  Fr.  Diet. :  "  Crevasscr.  To  chop,  chawne,  chap,  chinke, 
riue,  or  cleaue  asunder." 


ACT  //.     SCENE    IV.  159 

46.  Peascod.     Pea-pod.     It  was  often  used  in  rustic  divination  oflove 
affairs.     Mr.  Davy,  speaking  of  Suffolk,  says  :  "The  kitchen-maid,  when 
she  shells  green  pease,  never  omits,  if  she  finds  one  having  nine  pease, 
to  lay  it  on  the  lintel  of  the  kitchen-door,  and  the  first  clown  who  enters 
it  is  infallibly  to  be  her  husband,  or  at  least  her  sweetheart."     "  Winter- 
time for  shoeing,  peascod  time  for  wooing  "  is  an  old  Devonshire  prov- 
erb.    Halliwell  quotes  Gay  : 

"As  peascods  once  I  pluck' d,  I  chanc'd  to  see 
One  that  was  closely  fil.'d  with  three  limes  three  ; 
Which,  when  cropp'd.  I  safely  home  convey' d, 
And  o'er  the  door  the  spell  in  secit-t  laid; 
The  latch  niov'd  up,  when  who  should  lirst  come  in 
But,  in  his  proper  person, Lubberkin." 

Cf.  Browne,  Brittani<i's  Pastorals : 

"  The  peascod  greene  oft  with  no  little  toyle 
Hce'd  seeke  lor  in  the  fattest  fertil'si  soile, 
And  rend  it  from  the  stalke  to  bring  it  to  her, 
And  in  her  bosoine  for  acceptance  wooe  her." 

47.  Two  cods.     Johnson   suggested  "  two   peas,"  but  cods  or  feascods 
seems  sometimes  to  have  been  used  for  peas.     Cf.  15.  and  F.,  Honest 
Man's  Fortune:  "Shall  feed  on  delicates,  the  first  peascods,  strawber- 
ries." 

48.  Weeping  tears.    This  ridiculous  expression  occurs  in  Lodge's  novel, 
and  also  in  the  old  play  of  The  Victories  of  King  Henry  !•'.,  Peele's  Jests, 
etc.  (Steevens). 

50.  Mortal  in  folly.  Mortally  foolish.  Mortal  —  very,  great,  is  used  in 
various  English  dialects.  Schmidt  thinks  it  may  here  mean  "human, 
resembling  man." 

52.  Wiser.     More  wisely.     Gr.  i.     lVare  =  aware,  but  not  a  contrac- 
tion of  that  word,  as  most  modern  eds.  make  it.     It  is  uniformly  printed 
"  ware  "  in  the  folio.     Cf.  Hen.  I'! II.  p.  162,  note  on  Longing. 

53.  Till  I  break,  etc.     "  Till  I  find  to  my  cost  the  truth  of  some  of  my 
own  aphorisms"  (M.). 

55-  J'W'  y<nu-'     The  Coll.  MS.  gives  "  Love,  Love  !" 

56.  I'pon  my  fashion.  After  my  fashion  ;  as  in  i.  I.  I.  Schmidt  com- 
pares I/yly,  Fiiphnes :  "he  returned  them  a  salute  on  this  manner;"  and 
Greene,  Pandosto :  "began  to  parley  with  her  on  this  manner." 

59.  Yond.  Not  a  contraction  ofjwit/t-r,  as  often  printed.  See  Temp. 
p.  121  or  7.  C.  p.  134. 

66.  Lozv  or  gold.     Cf.  the  proverbial  phrase,  "for  love  or  money." 

69.  Mitch  oppressed.     As  Abbott  remarks  (Gr.  403),  there  is  an  ellip- 
sis of  "  who  is"  here,  or  of  "she"  be  fore  fain  ts.     Tlie  latter  is  the  more 
probable. 

70.  Faints  for  succour.     That  is,  for  want  of  succour.     Schmidt  puts 
this  among  the  cases  in  which  a  negative  seems  to  be  wanting  (see  on  ii. 
3.  12  above)  ;  like  "dead  for  breath"  (.Maci>.  \.  5.  37),  "to  sink  for  food  " 
(Cyiiid.  iii.  6.  17),  etc.     In  T.  G.  of  I',  i.  2.  136,  "  fur  catching  cold  "-  tor 
tear  of  catching  cold.     Cf.  (Jr.  154. 

74.   That  I  graze.     < )f  the  sheep  that  I  feed. 

76.   Little  recks.     Little  cares.     Cf.  T.  U.  of  I',  iv.  3.  40:   "recking  as 


i6o  NOTES. 

little  what  bctidcth  me."  See  also  V.  and  A.  283,  etc.  Halliwcll  has 
'•wreaks,"  the  folio  spelling. 

78.  Cote.  Cottage  (cf.  87  below).  So  sheefeote  in  next  line  and  in 
'v-  3-  77-  See  also  IV.  T.  iv.  4.  808,  etc. 

Bounds  of  feed— limits  of  pasturage,  pastures. 

82.  ///  my  voice.    In  my  name,  so  far  as  I  am  concerned.    Cf.  M.for  M. 
i.  2.  185  :  "  Implore  her  in  my  voice,"  etc. 

83.  What  is  he?    Who  is  he  ?     Cf.  ii.  7.  79  below.     See  Gr.  254  ;  and 
on  shall,  Gr.  315. 

84.  But  ernohile.     Just  now.     Cf.  iii.  5.  104  below.     Sec  also  /..  L.  L. 
iv.  i.  99  and  A/.  /V.  D.  iii.  2.  274. 

86.  If  it  stand  with  honesty.  If  it  is  consistent  with  honesty  ;  that  is, 
with  the  understanding  you  have  with  Silvius.  Cf.  Cur,  ii.  3.  91,  ttc. 

90.  Waste.  Spend.  Cf.  M.  of  I',  iii.  4.  12,  Temp.  \.  i.  302,  M.  N.  D. 
ii.  i.  57,  etc.  See  also  Milton,  Sonn.  to  Mr.  Lawrenee,  4 :  "  Help  waste 
a  sullen  day." 

94.  feeder.  Shepherd,  the  feeder  of  your  flocks.  Wr.  makes  it  — 
servant,  and  compares  A.  and  C.  iii.  13.  109  (where  Schmidt  explains  it 
as  "  parasite  "). 

SCKNE  V. — 3.  Turn.  Pope  substituted  "tune,"  but  the  editors  gen- 
erally retain  the  original  reading.  Sr.  quotes  Hall,  Satires,  vi.  i  :  "  While 
threadbare  Martial  turns  his  merry  note  ;"  but  Coll.  thinks  this  is  only 
justifying  one  misprint  by  another.  Pope's  emendation  is  favoured  by 
T.  G.'ofV.  v.  4-  5  •• 

'  And  to  the  nightingale's  complaining  notes 
Tune  my  distresses  and  record  my  woes." 

But,  as  Wr.  remarks,  "to  turn  his  mcrrv  note  may  mean  adapt  or  modu- 
late his  note  to  the  sweet  birds'  song,  following  it  in  its  changes."  Whiter 
says  that  "/<<  turn  a  tune,  in  the  counties  of  York  and  Ihnham,  is  the 
appropriate  and  familiar  phrase  for  modulating  the  voice  properly  ac- 
cording to  the  titr.ts  or  air  of  the  tune." 

5.  Come  hither.     Let  him  come  hither.     Gr.  364. 

6.  Here  shall  he  see,  etc.     Cf.  ii.  I.  6  fol. 

12.  As  a  -ti.ieast'1  sucks  eggs.     Cf.  Hen.  I',  i.  2.  170  : 

"  For  once  the  eagle  Kngland  being  in  prey, 
To  her  unguarded  nest  the  weasel  Scot 
Cones  sneaking,  and  so  sucks  her  princely  eggs." 

14.  /\itgged.  Rough.  Kowe  substituted  "  nigged,"  but  S.  elsewhere 
uses  ragged  where  we  should  use  nigged.  C  f.  A',  of  I..  892  :  "  Thy  smooth- 
ing titles  to  a  ragged  name  ;"  Sonn.  6.  I :  "  winter's  ragged  hand,"  etc. 
Steevens  quotes  Nash,  Pierce  /'enni/esse,  1593  :  "  his  ragged  verses." 

16.  S/,ii/:<>.  The  folio  reading.  M.  thinks  that  the  word  is  "spoiled 
on  purpose  in  conUmpt  for  foreigners.'' 

2v  'J'lie  ene0niiter,v\.£.  The  grinning  of  two  monkeys  at  each  other. 
Bartholomacus  says  of  apes  :  "sonic  be  call  ceiiof he;  and  be  lyke  to  an 
houmle  in  the  lace,  and  in  the  body  lyke  to  an  ape."  Maplett,  in  his 
Green  /v/r.*/,  <»•  <i  A'atiiral  ///story,  1507,  speaks  of  five  kinds  of  apes, 
one  of  which  "is  not  mu<:h  unlike  our  dog  in  figure  or  shew."  The  ref- 


ACT  II.     SCENE    V.  161 

erence  here,  as  in  S.,  is  probably  to  the  dog-faced  baboon,  the  Simi.i 
hamadryas  of  Linnaeus. 

25.  The  beggarly  thanks.  "The  professionally  benedict! ve  thanks  of 
a  beggar"  (M.). 

28.  Cover  the  while.  Spread  the  table  in  the  meantime.  Cf.  M.  of  I'. 
iii.  5.  57,  65,  and  2  Hen.  IV.  ii.  4.  1 1.  For  the  -while,  see  Temp.  iii.  i.  24, 
Maeb.  ii.  i.  29,  etc.  Gr.  137. 

30.  To  look  you.  To  look  for  you.  Cf.  A.  IV.  iii.  6.  115  :  "I  must  go 
.ook  my  twigs,"  etc.  Gr.  200. 

32.  Disputable.     Disputatious.     For  other  examples  of  adjectives  in 
-able  used  actively,  see  Gr.  3. 

33.  /  ffnv  heaven  thanks,  etc.     A    proverbial   expression.     Cf.  Much 
Ado,  iii.  3.  19:  "  Why,  give  God  thanks,  and  make  no  boast  of  it." 

36.  To  lire  r  the  sun.  That  is,  "a  life  of  open-air  freedom"  (Wr.)  or 
of  "careless  idleness"  (Schmidt).  The  4th  folio  has  "lye"  for  live. 

44.  ///  des fit e  of  my  invention.  "As  imagination  would  do  nothing 
for  me,  I  spited  it  by  the  following  choice  composition"  (M.).  To  this 
Ni>k  =  to  the  same  tune. 

51.  Diu'dame.  A  word  on  which  the  commentators  have  wasted  much 
ink,  without  giving  a  satisfactory  answer  to  the  question  of  Amiens, 
"What's  that  ihtcdame?"  It  is  probably  mere  nonsense  coined  tor  the 
occasion.  Hanmer  substituted  " dm  ad  ///</"  (supposed  to  be  Latin  for 
"bring  him  to  me1'),  which  W.  thinks  should  be  adopted  "from  the  re- 
lation which  the  line  bears  to  the  corresponding  one  in  the  other  stan/as." 
"  Hue  ad  me"  has  been  suggested  on  the  same  grounds;  but  we  need 
not  suppose  that  anything  more  than  a  metrical  correspondence  was  in- 
tended. Dncdame,  as  Ilalliwell  thinks,  may  be  the  burden  of  some  old 
song. 

54.  To  nit\  Farmer  suggested  "to  Ami,"  which,  as  Wr.  remarks,  "  se- 
cures a  rhyme  at  the  expense  of  the  metre." 

56.  To  call  fools  into  a  circle.     M.  adds,  "  for  the  purpose  of  etymologic- 
ally  and  linguistically  investigating  the  meaning  of  ducdame  ,-"  which  is  a 
fair  hit  at  the  commentators,  one  of  whom  (followed  by  several  others) 
seriously  argues  that  the  word  is  "manifestly"  the  call  of  the  dame,m 
housewife,  to   her  ducks'.      "The   answer  of  faqucs,"  he   says,  "plainly 
points  out  that  the  expression  was  intended  for  a  certain  cry  to  collect 
together  some  silly  species  of  animals." 

57.  Go  sleep.     See  on  i.  I.  68.      The  first-born  of  Egypt,  according  to 
Johnson,  is  "  a  proverbial  expression  for  high-born  persons,"  but  no  other 
example  of  it  has  been  pointed  out.     Perhaps,  as  N'ares  suggests,  "  Jaques 
is  only  intended  to  say  that,  if  he  cannot  sleep,  he  will,  like  other  discon- 
tented people,  rail  against  his  betters." 

58.  /-tiiiit/itct.     Probably  here —  dinner,  feast  ;  as  in  Much  Adt>,  ii.  I.  178. 
It  sometimes  meant  only  the  dessert  ;   as  in  T.  of  S.  \.  2.  <)  : 

"My  banquet   is  to  <.:'.. >^e  mir  -.tuuuuhs   up 
Alter  our  ure.U   ;•;<>( nl   cheer." 

\Vr.  quotes  Massinger,  The  I'mialnral  Combat,  iii.  I  : 

"We'll  dine  in   the  nr<-Mt   '"'  ""••  l'"t  let  die,  music 
And  banquet  be   |>re]).iied  heie." 

L 


1 62  NOTES. 

SCENE  VI. — I.  For  food.  That  is,  for  want  of  it.  See  on  ii.  4.  70 
above. 

2.  Jfeie  He  I  dmun,  etc.     Steevens  quotes  R.  andj.  iii.  3.  70  : 

"  And  fall  upon  the  found,  as  I  do  now, 
Taking  the  measure  of  an  unmade  grave." 

5.  Comfort.    That  is,  comfort  thyself;  or  it  may  be  — take  comfort.be 
comforted. 

6.  Uncouth.    Unknown,  strange  ;  its  original  sense.    Cf.  A',  of  L.  1598  : 
"What  uncouth  ill  event  Hath  thee  befallen?"   T.  A.  ii.  3.  211  :  "I  am 
surprised  with  an  uncouth  fear."     S.  uses  the  word  only  three  times. 
Cf.  Spenser,  F  Q.  i.  I.  15  :  "as  that  uncouth  light  upon  them  shone;" 
Id,  iii.  10.  34  :  "  many  an  uncouth  way,"  etc.     So  Milton,  P.  L.  ii.  406  : 

"And  through  the  palpable  obscure  find  out 
His  uncouth  way. 

7.  Thy  conceit,  etc.     "  You  conceive   yourself  nearer   to  death  and 
weaker  than  you  are"  (M.).     Conceit  often  =  conception,  idea,  thought, 
etc.     \Vr.  quotes  here  Ham.  iii.  4.  1 14  :  "  Conceit  (that  is,  fancy  or  imag- 
ination) in  weakest  bodies  strongest  works." 

10.  Presently.     Immediately.     Cf.  Temp.  iv.  i.  42,  v.  I.  101,  etc.     Gr. 

59- 

12.  Well  said!     "Well  spoken  and  to  the  purpose  "  (Schmidt),     lie 
congratulates  himself  that  his  words  make  Adam  "look  cheerly."     Wr. 
explains  it  as  =  "  Well  done  !"  and  compares  I  Hen.  II'.  \.  4.  75. 

.  Thoit  lookest  cheerly.  That  is,  cheerily,  cheerfully.  Cf.  /'.  of  A.  ii.  2. 
223  :  "  Prithee,  man,  look  cheerly  !"  etc.  See  also  ii.  7.  n  below. 

SCENK  VII. — i.   /  think  he  />f.     For  the  subjunctive,  see  Gr.  299. 

3.  But  fZ'f/i  now.      lint  just  now.     Cf.  Temp.  v.  I.  232,  etc.     Gr.  38. 

4.  Hearing  of.     See  on' ii.  4.  40.     Gr.  178. 

5.  Coin  fact  of  jars.     All  made  up  of  discords.     Cf.  Af.  N.  D.  v.  I.  8  : 
"of  imagination  all  compact,"  etc.     Steevens  quotes  Tamburlane,  1590: 
"Compact  of  rapine,  piracy,  and  spoil." 

6.  The  spheres.     An  allusion  to  the  Pythagorean  doctrine  of  the  music 
of  the  spheres.     Cf.  T.  N.  iii.  i.  121,  /)/.  of  I',  v.  i.  60,  A.  and  C.  v.  2.  84, 
etc.     See  also  Milton,  Hymn  on  A'ntivity,  125-132,  eic. 

13.  Motley.     The  parti-coloured  dress  of  the  professional   fool.     The 
word  is  used  as  a  noun  (  =  fool )  in  Sonn.  1 10.  2,  and  in  iii.  3.  69  below. 

A  miserable  world!  "Where  this  is  one's  best  amusement"  (M). 
Warb.  suggested  "varlet"  for  world, 

16.  Kail' don.  S.  uses  on  or  upon  after  rail  oftener  than  at.  Against 
is  sometimes  the  preposition  ;  as  in  ii.  5.  57  and  iii.  2.262  of  the  present 
play. 

Lady  Fortune.  Cf.  IV.  T.  iv.  4.  51  :  "  ()  Lady  Fortune  !"  Temp.  i.  2. 
178:  "bountiful  Fortune,  Now  my  dear  lady,"  etc.  See  also  on  i.  2. 
27- 

19.  Cii'l  me  net  /<><>/,  etc.  An  allusion  to  the  old  proverb.  Fortitna  favtt 
fatuis  (Upton).  Halliwell  quotes  Kay,  I: 'it*.  Proverbs :  "  Fortune  favours 
fools,  or  fools  have  the  best  luck."  Cf.  1J.  J.,  Alchemist,  prol.  :  "  For- 
tune, that  favours  fooles,"  etc. 


ACT  II.     SCENE   VII.  ,63 

20.  A  /;o;.  This  in  the  time  of  S.  might  mean  either  a  watch  or  a 
portable  sun-dial,  and  it  is  doubtful  which  is  intended  here.  Cf.  A.  IV. 
ii.  5.  6  :  "  my  dial  goes  not  true,"  etc. 

J^ke  —  pouch,  pocket.  \Ve  still  use  the  word  in  the  proverb,  "to  buy 
a  pig  in  a  poke."  Pocket  is  a  diminutive  of  it. 

26.  Ripe.  Kipen  ;  as  in  M.  of  I',  ii.  8. 40:  "  the  very  riping  of  the  time." 
Schmidt  and  Wr.  make  it  a  verb  in  Af.  A'.  D.  ii.  2.  1 18  ("  till  now  ripe  not 
to  reason"),  where  it  seems  to  us  very  plainly  an  adjective.  It  is  used 
transitively  in  A'.  'John,  ii.  i.  472  :  "  no  sun  to  ripe  the  bloom  ;"  and  in 
2  Hen.  IV.  iv.  1.  13  :  "to  ripe  his  growing  fortunes." 

29.  Moral.     Moralize.    Schmidt  considers  it  "  probably  an  adjective  ;" 
as  it  is  (=moralizing)  in  Lear,  iv.  2.  58  :   "a  moral  fool." 

30.  Creno.    Cf.  T.  G.  of  V.  ii.  I.  28:  "  Von  were  wont,  when  you  laughed, 
to  crow  like  a  cock."     See  also  T.  A',  i.  5.  95. 

31.  Deep-contemplative.     For  compound  adjectives  in  S.  see  Gr.  2. 

32.  Sans.     Cf.  166  below.     See  also  Temp.  i.  2.  97,  /,.  /..  /,.  v.  I.  91, 
etc.     It  was  much  used  by  the  writers  of  the  time,  and  appears  to  have 
been  viewed  as  an  English  word.     Cotgravc  (Fr.  Diet.)  translates  sans 
by  "  sanse,  without,  besides  ;"  and  Florio  (Ilal.  Diet.')  gives  "  sanse  "  u.s 
an  Knglish  equivalent  for  senza.     Intermission  is  here  five  syllables. 

34  r/ie  only  wear.  The  only  thing  to  wear,  the  only  dress  in  fashion. 
Cf.  IV.  T.  iv.  4.  327  :  "  Of  the  new'st  and  finest,  finest  wear-a  ;"  M.for  Af. 
iii.  2.  78:  "it  is  not  the  wear,"  etc.  Steevens  quotes  Donne,  Satire  iv. 
86:  "  Your  only  wearing  is  your  grogaram." 

39.  Dry,  etc.     Boswell  quotes  B.  J.,  Every  Afan  Out  of  his  Humour, 

ind.  : 

"  And  now  and  tlien  breaks  a  dry  biscuit  jest, 
Wlrcli.  that  it  may  more  easily  be  chew'd, 
He  steeps  in  his  own  laughter." 

40.  Strange  places.     Odd  corners.     \Vr.  explains  places  as  "  topics  or 
subjects  of  discourse,"  but  this  does  not  suit  so  well  with  cramnt'd. 

44.  Suit.  For  the  play  on  the  word  cf.  iv.  i.  78  below.  See  also 
I  Hen.  IV.  i.  2.  81. 

48.  As  the  li'ind.  That  "bloweth  where  it  listeth  "  (John,  iii.  8).  Cf. 
T.andC.  i.  3.  253  :  "  Speak  frankly  as  the  wind  ;"  Cor.  i.  9.  89  :  "as  tree 
as  is  the  wind  ;"  and  Hen.V.  i.  1.48:  "T'  '.  air,  a  charter'd  libertine." 

52.  As  plain  as  ii'nr,  etc.     "  When  the  spire  is  in  full  view  "  (M.). 

53-57.   He  t/iat,  etc.     In  the  folio  the  passage  reads  thus  : 

"  Hee,  that  a  Foo'e  cloth  very  wisely  hit, 
Doth  very  foolishly,  although  he  smart 
Seeme   senselesse  of  the  bob.      If  not, 
The  Wise-mans  folly  is  anathomiz'd 
Euen  by  the  squandring  glances  of  the  foole." 

Theo.  made  55  read  "  Not  to  seem,"  etc.  ;  and  Coll.,  following  the  Coll. 
MS.,  "  Hut  to  -cum,"  etc.  The  meaning  is  essentially  the  same,  but  the 
latter  seems  the  more  Shakespearian  expression.  The  sense  then  is  : 
lie  whom  a  fool  happens  to  hit  well  is  very  foolish  unless  he  appears 
not  to  feel  the  rap;  otheiwise.  his  folly  is  laid  bare  even  by  the  random 
sallies  of  the  fool. 


x64  NOTES. 

Whiter  would  retain  the  folio  reading,  pointing  it  thus  : 

"  Dolh,  very  foolishly  although  he  smart, 
Seem  senseless  of  the  bob ;" 

that  is,  a  wise  man,  "  though  he  should  be  weak  enough  really  to  be  hurt 
by  so  foolish  an  attack,  appears  always  insensible  of  the  stroke."  But 
the  inversion  in  "very  foolishly  although  he  smart"  is  awkward;  and, 
besides,  the  imperfect  measure  indicates  that  something  has  been  lost 
from  the  text. 

For  another  defence  of  the  original  reading,  sec  Dr.  Ingleby's  Mill 
Lion,  p.  79  (or  his  Shakespeare  Hermcneutics,  p.  Si)  ;  and  for  a  good  re- 
ply to  the  same,  see  the  C.  P.  ed.  of  A.  Y.  /,.  p.  116.  Dr.  I.  admits  that 
something  seems  to  have  dropped  out  of  the  text,  and  suggests  that  it 
may  have  read  originally  "  If  lie  do  not,"  etc. 

For  senseless  —  insensible,  cf.  Cy»il>.  i.  i.  135  :  "I  am  senseless  of  your 
wrath,"  etc.  /M  =  rap,  hit,  is  not  found  elsewhere  in  S.,but  we  have  the 
verb  (  =  beat,  drub)  in  Rich.  HI.  v.  3.  334  and  T.  and  C.  ii.  I.  76.  For 
vnatontize=\ay  open,  disclose,  cf.  i.  I.  141  above.  Squander  is  used  by  S. 
only  here  and  in  M.  of  V.  \.  3.  22  :  "other  ventures  he  hath,  squandered 
abroad;"  that  is,  scattered  abroad.  In  Ot/i.  iii.  3.  151  ("his  scattering 
and  unsure  observance")  scattering  \s  used  much  like  squandering  here. 

63.  For  a  counter.  "I  bet  a  penny  on  it"  (M.).  A  counter  was  "a 
round  piece  of  metal  used  in  calculations"  (Schmidt).  It  is  used  con- 
temptuously for  coins  in  J.  C.  iv.  3.  80  :  "such  rascal  counters." 

66.  The  brutish  sthig.     Animal  passion.     Cf.  M.for  M,  i.  4.  59  :   "The 
wanton  stings  and  motions  of  the  sense  ;  and  Ol/i.  i.  3.  335  :  "  our  carnal 
stings,  our  unbilled  lusts." 

67.  Embossed.     Tumid  ;   as   in   Lear,  ii.  4.  227  :    "  an   embossed   car- 
buncle."    Headed  —  grown  to  a  head.     In  the  only  other  instance  of  the 
verb  in   S.  (M.  for  M.  ii.  I.  250:  "it  is  but  heading  and  hanging")  it 
means  to  behead. 

70.  ll'hv,  ">.'ho  cries  out,  etc.     "  Chide  as  I  will,  why  should   I  offend 
them?     Who  can  say  that  I  mean  him?     Jaqties  appears  either  wilfully 
or  through  shallowness  to  miss  the  deep  wisdom  of  the  Duke's  saying, 
and  the  whole  character   of  his   admonition.     The  Duke  had  not  said 
that  Jaques  would  offend  people,  but  that  he  would  corrupt  them  "  (M.). 

71.  7</.r.    Censure.     See  on  i.  2.  75,  and  cf.  86  below.    Prh-atc—^  par- 
ticular, opposed  to  general"  (Schmidt);  as  in  Simn.  9.  7  :  "every  pri- 
vate widow." 

73.  The  wearer  s  rery  means.  The  folio  has  "  wearie  verie  meancs," 
which  Ilnlliwell  and  V.  retain.  Tope  changed  it  to  "very  very."  The 
Coll.  MS.  has  "the  very  means  of  wear."  The  emendation  in  the  text 
is  due  to  Sr.,  and  is  adopted  by  K.,  I).,  \V.,  and  \Vr.  Cf.  I/cn.  I  7/7.  i.  i. 

85: 

"  ( ),  ninny 

Have  broke  tlu-ir  Kick*  with  laying  manors  cm  'em 
J'or  llii->  great  journey." 

75.  //"//, •«  ///,//.      Seeoni.  3.  4t.      Gr.  287. 

76.  The  cost  of  princes,  etc.      \\'i.  quotes   2  lien.  }'/.  i.  j.  83:   "She 
bears  a  duke  s  revenues  on  her  back." 


ACT  II.    SCENE   VII.  165 

77.  Come  in.     "  Intervene"  (Schmidt)  ;  as  in  M. for  ]\f.  ii.  i.  31. 

79.  Of l>a sest  function.     "  Holding  the  meanest  office"  (\Vr.). 

80.  Bravery.     Finery.     Cf.  /'.  t>/ S.  iv.  3.  57:  "With  scarfs  and  fans 
and  double  change  of  bravery."     See  also  Spenser,  Mother  Hubberds 
Tale,  857  :  "  Which  oft  maintain'd  his  master's  braverie  "  (that  is,  dressed 
as  well  as  his  master).     Cf.  also  brave  —  fine,  beautiful ;  as  in  Temp.  i.  2. 
6,  41 i,  iii.  2.  104,  iii.i  13,  v.  183,  261,  etc. 

On  my  cost.  At  my  expense.  lioth  the  Cam!),  ed.  and  \Vr.  misprint 
"  of  r.iy  cost."  Cf.  Ifen.  V.  iv.  3.  25  :  "  doth  feed  upon  my  cost." 

82.  Mettle.     Substance,  purport.     The  early  cds.  make  no  distinction 
Ix-'tween  metal  and  mettle.     See  Rich.  11.  p.  157. 

83.  Hino  then  ?  what  then  f     "  Let  us  understand  one  another  thor- 
oughly ''  (M.). 

84.  Do  him  right.     Give  him  his  due,  do  him  justice  ;  as  in  M.for  M. 
ii.  2.  103,  Kick.  II.  ii.  3.  138,  and  many  other  passages. 

85.  Free.     Innocent  ;  as  in  IV.  T.  i.  2.  251,  Ham.  ii.  2.  590,  Oth.  ii.  3. 

343.  etc- 

88.  Eat.  S.  uses  both  eat  and  eaten  for  the  participle,  and  the  former 
regularly  (so  far* as  the  early  eds.  show)  for  the  past  tense.  See  Gr.  343 
and  Rich.  II.  p.  204. 

90.  Of  what  kind,  etc.     Of  what  race,  etc.     On  the  double  preposition, 
cf.  139  below.     See  also  A.  IV.  i.  2.  29,  T.and  C.  v.  i.  63,  Cor.  ii.  I.  18,  etc. 
Gr.  407. 

91.  Baldened.     Not  a  contraction  of  emboldened,  as  sometimes  printed. 
Cf.  If  en.  VI 11.  i.  2.  55.    Bold  is  used  as  a  verb  in  the  same  sense  in  Lear, 
v.  i.  26. 

94.  /•£///.     Disposition,  temper.     At  first  refers  of  course  to  91. 

96.  Inland  bred.     Brought  up  in  the   interior   of  the  country,  as  op- 
posed to  the  less  populous  and  less  cultivated   frontiers  ;  or  "  perhaps 
opposed  to  mountainous  districts  as  the  seats  of  savage  barbarousness " 
(Schmidt).     Cf.  2  //<•//.  //•'.  iv.  3.  119  :   "  inland  petty  spirits  ;"  that  is,  as 
Schmidt  explains  it,  "given  till  then  to  the  arts  of  peace."     See  also  iii. 
2.  323  below. 

97.  Nurture.     Culture,  good-breeding.     Cf.  Temp.  iv.  i.  189.     So  /'//- 
nurtured—  ill-bred  in  V.  and  A.  134  and  2  //<•«.  /'/.  i.  2.  42. 

99.  Ans'icered.      Satisfied  ;  as  in  J.  C.  v.  I.  I,  etc. 

100.  Reason.     St.  would  read  "  reasons,"  on  the  ground  that  there  may- 
be a  poor  pun  on  raisins. 

102.  Your  gentleness,  etc.  M.  remarks  :  "  This  reciprocal  inversion  of 
subject  and  predicate  was  called  by  the  Greeks  ^»  riff/n't  [from  the  letter  \] ; 
the  two  subjects  being  at  the  left-hand  points  of  the  \,  and  the  two  predi- 
cates at  the  right-hand  points,  and  each  subject  linking  itself  with  its 
predicate  along  the  oblique  lines  (//  Kara  cutuirpoi'  cr/Cu^ic,  as  Aristotle 
calls  it)." 

104.  For  food.  See  on  ii.  4.  70  above.  For  <;;/,/ -and  so,  and  there- 
fore, \Vr.  compares  'l\'mp.  i.  2.  i<S6.  See  also  Gr.  100. 

109.  Commandment.  Command.  \Vr.  quotes  Uacon,  Ad:',  of  I.,  i.  8. 
3  :  '"  We  see  the  dignity  of  the  commandment  is  according  to  the  dig- 
nity of  the  commanded  :  to  have  commandment  over  beasts,  as  herdmen 


1 66  NOTES. 

have,  is  a  thing  contemptible  :  to  have  commandment  over  children,  as 
schoolmasters  have,  is  a  matter  of  small  honour  :   to  have  comnmnd- 
nient  over  galley-slaves  is  a  disparagement  rather  than  an  honour." 
no.  Inaccessible.     Hard  of  access,  "almost  inaccessible"  (Temp.  ii. 

1-37)- 

114.  h'noird.  Cf.  Macb.  v.  S  50  and  2  //<•;/.  //'.  i.  i.  103.  Cotgrave 
(/V.  Diet.)  translates  <•<//•///<>;/<•;•  ,>y  "  To  chyme,  or  knowlc,  bells"  (\Yr.). 
lialliwell  cites  Twyne's  Discourse  concerning  Earthquakes,  i5So:  "the 
very  shakinge  caused  the  belles  in  some  steeples  to  knoll  a  stroakc  or 
twaine." 

118.  Enforcement.  Cf.  A.  IV.  \.  3.  107:  "by  what  rough  enforcement 
You  got  it,"  etc 

120.  True  is  it,  etc.  "  A  fine  instance  of  epanadiplosis,  each  clause  of 
Orlando's  adjuration  being  repeated  by  the  Duke  with  exquisite  varia- 
tion "  (M.). 

125.  Upon  command.     At  your  will  or  pleasure. 

128.  Whiles.  Cf.  v.  4.  5,  132  below  ;  also  J/.  N.  D.  iii.  2.  374,  etc.  Gr. 
137.  On  like  a  doe,  cf.  F.  and  A.  875. 

131.  Sufficed.     Satisfied.     Cf.  K.John,  i.  i.  191  :  "when  my  knightly 
stomach  is  surfic'd,"  etc. 

132.  Weak  evils.     That  is,  causing  weakness.     Sec  on  ii.  3.  39  above. 
Gr.  4.    Schmidt  (p.  1416)  makes  it —  evils  of  weakness  ;  as  "  old  wrinkles" 
(M.  of  I',  i.  i.  So)  =  wrinkles  of  age,  etc. 

139.  Wherein  'we  play  in.     See  on  90  above. 

All  the  world  's  a  s/agf.  "Totus  mundus  agit  histrionem"  (probably 
taken  from  a  fragment  of  Petronius,  where  it  reads  "  quod  fere  totus  mun- 
dus exerceat  histrionem  ")  was  the  motto  over  the  entrance  to  the  Globe 
Theatre.  The  comparison  is  very  common  in  writers  of  the  time.  Cf. 
Damon  and  Pythias,  1582  : 

"  Pythagoras  said,  that  this  world  was  like  a  stage, 
Whereon  many  play  their  parts;" 

Churchyard,  Farewell,  1593:  "A  borrowde  roume  where  we  our  pag- 
eants play  ;"  Of  Lena's  Complaints,  1597  : 

"  Whose  life  a  sad  continual  tracedie. 
Himself  the  actor,  in  the  world,  the  stage. 
While  as  the  acts  are  measiir'd  by  his  age." 

Sidney,  Arcadia:  "She  found  the  world  but  a  wearisome  stage  to  her, 
where  she  played  a  part  against  her  will,"  etc.  lialliwell  gives  many 
similar  passages. 

143.  Sfi'cn  ages.  The  division  of  man's  life  into  seven,  ten,  or  more 
periods  or  "  ages  "  was  likewise  common,  and  dates  back  to  very  ancient 
times.  NVr.  remarks:  "A  good  deal  of  the  literature  of  this  subject  has 
been  collected  by  Mr.  Winter  Jones,  in  an  interesting  paper  which  he 
published  in  the  Archteologica  (xxxv.  167-189)  on  a  block  print  of  the 
1 5th  century  which  is  in  the  British  Museum.  The  so-called  verses  of 
Solon,  ([noted  by  Philo,  De  opificio  mnndi,  arc  there  given,  as  well  as  the 
passage  in  which  I'lato  attributes  to  Hippocrates  the  division  of  man's 
life  into  seven  periods.  In  the  Mishna  (. •//'<>///,  v.  24)  fourteen  periods 
are  given,  and  a  uoem  upon  the  ten  stages  of  lite  was  written  by  the  great 


ACT  n.    SCENE  VIT.  167 

Hebrew  commentator  Ibn  Ezra.  The  M 'it/rash  on  Ecclesiastes,  5.  2  goes 
back  to  the  seven  divisions.  The  Jewish  literature  is  very  fully  given  by 
IA>W  in  his  treatise  Die  Lebfnsdlter  in  der  Jiidisehen  Lin-mtnr.  Sir 
Thomas  Browne  devotes  a  chapter  of  his  Vulgar  Errors  (iv.  12)  to  a  con- 
sideration of  the  various  divisions  which  have  been  proposed."  See 
also  Halliwell's  folio  ed.  vol.  vi.  pp.  153  fol. 

As  \V.  remarks  (see  his  Tale  of  the  Forest  of  Arden,  in  the  Galaxy  for 
April,  1X75),  all  these  stages  of  life  are  here  described  "in  scoffing  and 
disparaging  terms  ;"  in  tact,  Jaqucs  "  seized  the  occasion  to  sneer  at  the 
representatives  of  the  whole  human  race."  See  on  ii.  1.41  above. 

144.  Mewling.    Squalling.     \Vr.  quotes  Cotgrave,  /•>-.  Diet.:  "  Miauler 
To  mewle,  or  mew,  like  a  cat." 

145.  Then.     Pope,  followed  by  some  modern  eels.,  has  "  And  then," 
whicli  may  be  what  S.  wrote.      It  not,  Then  is  a  dissyllable.      Cf.  Gr. 
486. 

146.  Like  snail.     Halliwell  quotes  Browne  : 

"  ( )r  with  their  hats  (foi   fish)  lade  in  a  brooke 
Withouten  paine:   but  when  ihe  nuirne  doth  looke 
( >ut  ot  the  ea>terne  gates,  a  snayle  would  faster 
Glide  to  the  schooles,  then  they  unto  their  master." 

148.  Sighing  like  furnace.  Malone  quotes  Cynib.  i.  6.  66:  "He  fur- 
naces The  thick  sighs  from  him."  \Vr.  adds  L.  L.  L.  iv.  3.  140  :  "Saw 
sighs  reek  from  you." 

150.  Full  of  strange  oaths.     Sir  James  Douglas,  one  day  hearing  the 
exclamation  '•  The  devil  !"  pronounced  with  great  emphasis  in  a  cottage, 
immediately  concluded  "that  some  gallant  knights  or  good  men-at-arms 
were  lurking  there"  (1'ict.  Hist,  of  Eng.  ii.  264,  quoted  by  M.).     Soldiers 
have  always  "  sworn  terribly,"  and  not  "  in  Flanders  "  alone.    Cf.  I/en.  V. 
iii.  6.  78. 

Bearded  like  the  pard—  "  with  long  pointed  mustaches,  bristling  like 
panther's  or  leopard's  feelers"  (\\'r.). 

151.  Sudden.     Impetuous,  passionate.     Cf.  Macb.  iv.  3.  59  :  "Sudden, 
malicious  ;"   Oth.  ii.  I.  279  :    "  rash  and  very  sudden  in  choler,"  etc. 

155.  Beard  of  formal  cut.     Cf.  Hen.  V.  iii.  6.  So  :  "  a  beard  of  the  gen- 
eral's cut ;"  and  see  note  in  our  ed.  p.  168. 

156.  Wise  saws,  etc.    Wise  maxims  and  trite  illustrations.     For  modern 
=  commonplace,  trivial,  cf.  AIacl>.  iv.  3.  170  :  "  a  modern  ecstasy  ;"  A.  l\f. 
ii.  3.  2  :  "modern  and  familiar,"  etc.     See  also  iv.  i.  6  below.    Schmidt 
recognizes  no  other  meaning  of  the  word  in  S.     Instances  he  makes  here 
=  sa?i>s  ;  as  in  Much  Ado,  v.  2.  78  :   "  an  old  instance,"  etc. 

158.  Pantaloon.  As  Wr.  remarks,  the  word  and  character  were  bor- 
rowed from  the  Italian  stage.  Todd,  in  his  edition  of  Johnson's  Diction 
an1,  quotes  from  Addison's  Remarks  on  Several  J'tfts  of  Italy  an  account 
of  the  plays  in  Venice  :  "  There  are  four  standing  cnaracters  which  enter 
into  every  piece  that  comes  on  the  stage  :  the  Doctor,  Harlequin,  Fantn- 
lone,  and  Ctn'iello  .  .  .  Pantalonc  is  generally  an  old  Cully,  aiui  Cor'iello  a 
Sharper."  Torriano  (Italian  Diet.,  1659)  gives  "  1'antalone,  a  1'antalone, 
a  covetous  and  yet  amorous  old  dotard,  properly  applyed  in  Comedies 
unto  a  Vcne'ian."  Capell  yuotcs  from  The  Travels  of  three  English 


1 68  NOTES. 

Krothfrs,  1607,  a  dialogue  between  an  Italian  Harlequin  and  Kemp  the 
actor : 

"//<»/•/.   Marry  sir,  first  we  will  have  an  old  Pantalouue. 
AVw/t.  Sonic  iealous  Cuxcumbe. 
Hart.  Kight,  and  that  part  will  t  play." 

Steevens  gives  a  stage  direction  from  The  Plotte  of  the  Decide  Mam 
Fortune,  "  Enter  the  panteloun  and  pescode  with  spectakles." 

Halliwell  suggests  that  the  term  here  may  he  applied  more  generally. 
Howell  (1660)  makes  pantaloon  —  a  "Venetian  magnifico."  In  Calot's 
plates  illustrating  the  Italian  comedy  is  one  in  which  the  ancient  panta- 
loon is  represented  as  wearing  slippers. 

160.  Hose.  See  on  ii.  4.  6  above.  A  world  was  then  as  now  a  com- 
mon hyperbole.  Ct".  Oth.  i.  3.  159:  "a  world  of  sighs;"  M.  N.  D.  ii.  i. 
223:  "worlds  of  company  ;"  Hen.  /'///.  iii.  2.  21 1  :  "all  that  world  of 
wealth,"  etc.  . 

163.  His.     Its.     See  Temp,  p.  120,  or  Gr.  228. 

166.  Sdris.     See  on  32  above. 

167.  /  'enerabU  burden.     Steevens  suggests  that  S.  may  have  had  in 
mind  Uvid,  Met.  xiii.  125  : 

"  patremquu 
fr'crt  humeris,  vunerabile  onus,  Cytlieicius  heios." 

171.  Fall  to.  Used  by  S.  in  other  connections  than  of  eating.  Cf. 
2  Hen.  //'.  v.  5.  51  :  "  fall  to  thy  prayers  ;"  J.C.  v.  3.  7  :  "  his  soldiers  fell 
to  spoil,"  etc.  See  also  v.  4.  174  below. 

175.  Unkind.  Explained  by  Malone  as  -unnatural  (cf.  Lear,  iii.  4.  73, 
I  Hen.  VI.  iv.  I.  193,  etc.),  but  it  may  have  its  ordinary  sense. 

178.  Because  tlum  art  not  tren.  That  is,  "  thy  rudeness  gives  the  less 
pr.in,  as  thou  art  an  enemy  that  dost  not  brave  us  with  thy  presence,  and 
whose  unkindness  is  therefore  not  aggravated  by  insult"  (Johnson). 
Warb.  wanted  to  read  "not  sheen,"  that  is  "smiling,  shining,  like  an 
ungrateful  court-servant,  who  flatters  while  he  wounds!"  St.  conjectures 
"art  foreseen."  Capell  quotes  Lear,  iii.  2.  16-18:  "I  tax  not  you,  you 
elements,  with  unkindness,"  etc. 

i  So.  The  /toll  v.  "Songs  of  the  holly  were  current  long  before  the 
time  of  S.  It  was  the  emblem  of  mirth"  (Halliwell). 

1X7.  The  •ti'titers  u'arp.  Either  referring  to  the  curving  of  the  surface 
in  freezing,  or  in  a  more  general  sense  to  the  change  undergone.  Warp 
is  elsewhere  — change,  distort,  etc.  Cf.  llr.  T.  i.  2.  365,  .•/.  IV.  \.  3.  49, 
Lear,  iii.  6.  56,  etc.  Xares  (followed  by  V.,  II.,  and  others)  explains  the 
passage:  "though  thou  weave  the  waters  into  a  firm  texture."  \Vr. 
points  out  that  the  A.  S.  saying  (''Winter  sccal  geweorpan  wcder '") 
quoted  by  Holt  White  as —  "winter  shall  warp  water,"  and  repeated  by 
many  other  editors,  is  mistranslated,  "  wedcr  "  meaning  weather  ^that  is. 
fair  weather),  not  water. 

189.  As  friend  remembered  not.  "As  what  an  unrcmcmbcred  friend 
feels"  (M.).  I lanmer  changed  it  to  "remembering."  Schmidt  explains 
remembered  as  ''having  memory."  Cf.  "to  be  remembered  "  —  to  recol- 
lect ;  as  in  iii.  5.  i  }o  below. 

191.  \Vere.     D.  conjectures  "are,"  and  also  in  the  next  line. 


ACT  III.     SCENES  I.  AND  If. 


169 


193.  Effigies.     Effigy,  likeness.     For  the  accent,  see  Gr.  490. 

194.  Limit1  J.     I'ainied.      Used  by  S.  only  here  and  in  V,  and  A.  290. 
Disltmn  (—efface)  occurs  in  A.  and  C.  iv.  14.  10. 

198.  Thou.     On  the  pronouns  in  this  line  and  the  next,  see  Gr.  233. 


ACT   III. 

SCF.NF.  I. — 2.  The  belter  part.  For  the  greater  part.  Cf.  i.  3.  114,  or 
Gr.  202. 

3.  Argument.     Sec  on  i.  2.  262  above. 

4.  Thou  present.     You  being  present.     Gr.  380. 

6.  Seek  him  with  candle.     As  Steevens  remarks,  alluding  probably  to 
Luke,  xv.  8. 

7.  Turn.     Return  ;  as  in  Rich.  III.  iv.  4.  184 :  "  Ere  from  this  war 
thou  turn  a  conqueror,"  etc. 

ii.  Quit  thee.  Clear  o  acquit  thyself.  Cf.  Hen.  I',  ii.  2.  1 66  :  "God 
quit  you  in  his  mercy  !" 

16.  Of  such  a  nature.     That  is,  whose  duty  it  is. 

17.  Make  an  extent,  vie.     Pur  in  an  extendi  facias,  etc.     Lord  Camp- 
bell, in  Shakespeare's  Legal  Acquirements,  quotes  »'M-°  passage  as  illus- 
trating the  poet's  '"deep  technical  knowledge  or  law,*'  ihe  writ  vt extendi 
facias  applying  to  houses  and  lands,  as  that  oi  fieri  facias  to  goods  and 
chattels,  and  that  of  capias  ad  satisfaciendum  to  the  person.     \Vr.  cites 
Stephen's  Commentaries  <•>//  the  Laws  of  England,  iv.  80:   "Upon  all 
debts  of  record  due  to  the  Crown,  the  sovereign  h:\s  his  peculiar  remedy 
by  writ  of  extent ;  which  differs  in  this  respect  from  an  ordinary  writ  of 
execution  at  suit  of  the  subject,  that  under  it  the  body,  lands,  and  goods 
of  the  debtor  may  be  all  taken  at  once,  in  order  to  compel  the  payment 
of  the  debt.     And  this  proceeding  is  called  an  extent,  from  the  words  of 
the  writ ;  which  directs  the  sheriff  to  cause  the  lands,  goods,  and  chattels 
to  be  appraised  at  their  full,  or  extended,  value   (extendi  facias),  before 
they  are  delivered  to  satisfy  the  debt." 

1 8.  Expediently.     Expeditions]}',  quickly.     So  expedient— expeditious  ; 
as  in  A'.  John,  ii.  I.  60  and  Rich.  II.  i.  4.  39. 

Turn  him  gving=send  him  packing  ;  as  in  J.  C.  iii.  3.  38. 

SCKNE  II. — 2.  Thrice-crmvned.  Cf.  J/.  A'.  D.  v.  I.  391  :  "  By  the  triple 
Hecate's  team  ;"  Virgil,  ^/-.'//.  iv.  511  :  "Tergeminamqne  Hecatcn,  tria 
virginis  ora  Dianae  ;"  and  Horace,  Od.  iii.  22.  4  :  "Diva  triformis  :" 
Johnson  quotes  the  memorial  lines  : 

"  Terret,  lustrat.  a'^it,  Proserpina.  I.iina,  Diana, 
Ima,  superna,  feras,  sceptro,  Hilgore,  sagittis." 

Sr.  quotes  from  Chapman's  Hymnits  in  Cynthiam  a  passage  which  may 
have  been  in  Shakespeare's  mind  : 

"Nature's  bright  eye-sight,  and  the  night's  fair  soul, 
That  with  tiiy  triple  forehead  dost  control 
tartli,  sea.-.,  and  hell." 


170 


NOTES. 


4.  My  full  life  doth  sway.     Cf.  T.  N.  ii.  5.  1 18 :  "  doth  sway  my  life." 

6.  Character.     \Vrite,  inscribe.     Cf.  Sonn.  108.  I,  K.  of  L.  807,  T,  G. 
vf  V.  ii.  7.  4,  etc.     S.  accents  the  verb  either  on  the  first  or  second  sylla- 
ble ;  the  noun  on  the  first,  except  in  Rich.  III.  iii.  i.  81. 

7.  That.     So  that.     Gr.  283. 

IO.  Unexprcssive.  Inexpressible.  Cf.  Miltori,  Lycidas,  176  :  " the  un- 
expressive  nuptial  song;"  Hymn  on  A'atn:  116:  "With  (inexpressive 
notes."  Cf.  also  /'«j/////vjj/Tr  =  not  to  be  suppressed  (J.  C.  ii.  i.  134), 
uncomprehensh'c  =  unknown  (T.  and  C.  iii.  3.  198),  />/<://.(•/<  v  =  plausible, 
specious  (A.  IV.  i.  2.  53),  respective  —  respectable  (T.  G.  of  V.  iv.  4.  200), 
etc.  See  (Jr.  3. 

For  jfo  =  woman,  cf.  T.  N.  i.  5.  259  :  "the  cruellest  she  alive  ;"  Hen.  V. 
ii.  i.  83  :  "the  only  she  ;"  Cymb.  \.  6.  40:  "two  such  shes,"  etc.  See 
also  he  in  366  below.  Gr.  224. 

15.  Naught.     Had.     See  on  i.  i.  32  above. 

16.  Private.     Lonely,  solitary.     Cf.  Hen.  VIII.  ii.  2.  15  :  "I  left  him 
private,"  etc. 

20.  Hast.     Cf.  30  below  :  "  Wast  ever  in  court  ?"     Gr.  401. 

28.  Of  good  breeding.     See  on  ii.  3.  12  above. 

35.  All  on  one  side.  It  would  seem  obvious  enough  that  these  words 
are  explanatory  of  ill-roasted,  but  Steevens  connected  them  with  damned. 

39.  Good  manners.  "A  play  upon  words,  manners  being  used  for 
morals  as  well  as  for  habits  or  deportment"  (Halliwell).  V.  remarks 
that  morals  is  not  found  in  the  old  dictionaries  and  authors. 

41.  Parlous.  A  vulgar  corruption  of  perilous.  Cf.  M.  Ar.  D.  iii.  I.  14  : 
"a  parlous  fear,"  etc.  Gr.  461. 

46.  But  you  kiss.     Without  kissing.     Gr.  125. 

48.  Instance.     Proof.    Cf.  Much  Ado,  ii.  2.  42  :   "They  will  scarcely  be- 
lieve this  without  trial  :  offer  them  instances,"  etc. 

49.  Still.     Continually.     Gr.  69. 

50.  Fells.     Fleeces.     Cf.  Macb.  v.  5.  1 1  :   "  my  fell  of  hair  ;"  Lear,  v.  3. 
24  :  "  flesh  and  fell,"  etc. 

52.  A  mutton.  A  sheep.  Cf.  71  G.  of  I*,  i.  i.  101  :  "a  lost  mutton;" 
M.  of  r.  i.  3.  168  :  "  flesh  of  muttons,  beefs,  or  goats,"  etc. 

56.  Afore  sounder.  Cf.  "  more  worthier "  (iii.  3.  53  below),  "  more 
elder  "  (M.  of  V.  iv.  I.  251),  "  more  better  "  (  Temp.  i.  2.  19),  etc.  Gr.  1 1. 

60.  Worms'1 -meat.  Wr.  suggests  that  this  expression  may  have  struck 
S.  in  a  book  which  he  evidently  read,  the  treatise  of  Vincentio  Saviolo 
(see  on  v.  4.  86),  in  which  a  printer's  device  is  found  with  the  motto,"  O 
wormes  meate  :  O  froath  :  ()  vanitie  :  why  art  thou  so  insolent." 

62.  Perpend.  Ponder,  consider  ;  "a  word  used  only  by  Pistol,  Polo- 
nius,  and  the  clowns"  (Schmidt).  Cf.  M.  IV.  ii.  i.  119,  I/am.  ii.  2.  105, 
etc. 

66.  God  make  incision  in  thee !  Schmidt  explains  this,  "God  cure 
thee  !"  Heath  says:  "I  apprehend  the  meaning  is,  '  God  give  thee  a 
better  understanding,  thou  art  very  raw  and  simple  as  yet.'  The  ex- 
pression probably  alludes  to  the  common  proverbial  saying  concerning 
a  very  sillv  fellow,  that  he  ought  to  be  cut  for  the  simples."  The  refer- 
ence is  to  bleeding  as  a  method  of  cure.  Cf.  L  L.  I.,  iv.  3.  97. 


ACT  III.     SCENE  If. 


171 


On  r<7W=green,  inexperienced,  cf.  M.  of  I',  iii.  4.  77,  Rich.  II.  ii.  3.  42, 
etc. 

68.  Chvf  no  man  hate.     Halliwell  quotes   Romans,  xiii.  8:   "Owe  no 
man  anything,  but  to  love  one  another." 

69.  Content  with  my  harm.     "  Patient  in  tribulation." 

75.  Scapf.  Not  a  contraction  of  escape.  Cf.  Bacon,  Adv.  of  L.  ii.  14. 
9  :  "  had  scaped  shipwreck,"  etc.  Sec  \Vb.  s.  v. 

78.  /fiM/.  Kastern.  Ind  is  printed  "  Inde  "  in  the  folio,  and  the  vowel 
is  doubtless  meant  to  be  long  ;  as  in  L.  L.  L.  iv.  3.  222,  where  the  word 
rhymes  with  blind. 

82.  I.ind.     Delineated,  drawn.     Capcll  changed  it  to  "  limn'd." 

85.  Fair.     Beauty  ;  as  often.     Cf.  Sonn.  16.  1 1  :  "  Neither  in  inward 
worth    nor   outward   fair,"  etc.     1'ope   substituted   "  face "   here ;    and 
Walker  would  change /<~/<v  in  84  to  "  fair."    The  latter  is  the  more  plausi- 
ble emendation.     Steevcns  quotes  from  Lodge's  novel : 

"Then  muse  not,  nymphes,  though  I  bemone 
The  absence  of  fair  Rosalynde, 
Since  for  her  lair  there  is  fairer  none,"  etc. 

86.  Rhyme  yon.     Cf.  lien.  V.  iii.  6.  74:  "they  will  learn  you  by  rote 
where  services  were  done  ;"  T.  and  C.  i.  2.  188 :  "  he  will  weep  you,  an 
't  were  a  man  born  in  April,"  etc. 

88.  Butter-women's  rani:.  That  is,  their  jog-trot  one  after  another. 
Hamner  suggested  "rate,"  and  Grey  "rant."  \Vr.  thinks  "rack"  may 
be  the  right  word  ;  but  S.  does  not  use  it  elsewhere  in  the  sense  of  a 
horse's  pace.  Cotgrave  (Fr.  Diet.)  defines  amble  as  "an  amble,  pace, 
racke  ;  .  .  .  a  smooth,  or  easie  gate." 

For  rigAt  —  true,  downright,  see  Gr.  19  ;  and  cf.  no  and  258  below. 

93.  If  the  cat,  etc.  A  common  proverbial  phrase.  Halliwell  quotes 
the  Enteiiude  of  Jacob  and  Esatt,  1568:  "Cat  after  kincle,  saith  the 
proverbe,  swete  milke  wil  lap;"  Florio's  Second  Frutes,  1591:  "cat 
after  kinde  will  either  hunt  or  scratch,"  etc. 

95.  Winter.  The  reading  of  3d  and  4th  folios  ;  the  1st  and  2cl  have 
"  \Vintred." 

103.  False  gallop.  "  Forced  gait''  (i  Hen.  71'.  iii.  i.  135).  S.  uses^i/- 
lop  only  in  this  expression,  which  occurs  again  in  Much  Ado,  iii.  4.  94. 
Malone  quotes  Nash's  fierce  /'ennilesse,  1593  :  "  I  would  trot  a  false  gal- 
lop through  the  rest  of  his  ragged  verses,  but  that  if  I  should  retort  tiie 
rime  doggrell  aright,  I  must  make  my  verses  (as  he  doth  his)  run  hob- 
bling, like  a  brewer's  cart  upon  the  stones,  and  observe  no  measure  in 
their  feet." 

107.  Graff.  Graft.  Cf.  2  lieu.  II'.  \.  3.  3  :  "  of  my  own  grafting,"  etc. 
See  also  misgrajfed  in  .!/.  .V.  D.  i.  I.  137.  Graft  occurs  in  Cor.  ii.  I.  206  : 
"grafted  to  your  relish,"  etc. 

loS.  A  medlar.  The  fruit  of  the  Mesfi'tis  Gcrmanica,  a  tree  still  com- 
mon in  England.  It  was  not  considered  fit  to  eat  until  it  was  over-ripe, 
or  "rotten."  Cf.  Chaucer,  C.  T.  3870  : 

"That  ilke  t'ruyt  is  ever  longer  the  wcrs 
Til  it  be  rote  in  miillok  or  in  stree,"  etc. 

There  is  here  a  play  on  medlar  and  meddler,  as  in  T.  of  A.  iv.  3.  307  fe/J 


172 


NOTES. 


The  earliest  fruit.  Stcevens  thought  that  S.  had  "  little  knowledge  in 
gardening,"  as  the  medlar  is  a  very  late  trait ;  but  Rosalind  says  "  for 
you  '11  be  rotten  erf  you  be  half  rife." 

115.  A  desert.     Kowe  supplied  </,  which  is  not  in  the  folios.     Tyrwhitt 
conjectured  "  Why  should  this  desert  silent  be?"     Halliwell  retains  the 
folio  reading,  making  Why  a  dissyllable  (Gr.  481). 

1 16.  For.     Itecause.     See  Mer.  p.  134  or  A/.  A'.  D.  p.  177.     dr.  151. 

1 18.  Civil  sayings.  "  Maxims  of  social  life  "  (Johnson),  or  "  wise  say- 
ings "  (M.).  For  civil--  civilized,  see  2  lien.  VI.  iv.  7.  66  : 

"Kent,  in  the  Commentaries  C.Tsar  wiit, 

Is  tcrni'd  the  civil'st  place  of  all  this  isle ;" 
Cyml>.  iii.  6.  23  : 

"  Ho!  who  's  hete? 

If  anything  that  's  civil,  speak;  if  savage, 
Take  or  lend,"  etc. 

I2O.  Erring.  Errant,  wandering.  Cf.  Ot/i.  i.  3.  362  :  "  an  erring  bar- 
barian "  ( =  "  extravagant  and  wheeling  stranger  "  in  Id.  i.  i.  137  ) ;  Ham. 
i.  I.  154:  "The  extravagant  and  erring  spirit,''  etc. 

122.  Buckles  in.  Girds  in,  includes.  Cf.  Macl>.  v.  2.  15  and  T.  and  C. 
ii.  2.  30. 

126.  Sentence  end.  The  possessive  inflection  was  often  omitted  in  dis- 
syllables ending  with  a  sibilant  (Gr.  217),  and  sometimes  before  sake ,  as 
in  240  below. 

129.  Quintessence.    The  fifth  or  highest  essence  of  the  alchemists  ;  and 
hence,  figuratively,  the  concentrated  virtue  of  anything.    S.  uses  the  word 
only  here  and  in  Ham.  ii.  2.  321. 

130.  ///   little.     In  miniature.     Cf.  L.  C.  90  :   "  in  little  drawn,"  etc. 
133.  IVide-enlargd.     "Spread   through   the  world"  (Schmidt).     CC 

Temp.  iii.  i.  46  : 

"but  yon,  ()  you, 

So  perfect  and  so  peerlesr.  are  created 
Of  every  creature's  best!" 

135.  Helen's  cheek.  Cf.  Sonn.  53.  7:  "On  Helen's  cheek  all  art  of 
beauty  set." 

137.  Atlanta's  better  part.  What  this  means  has  been  much  disputed. 
Johnson  remarks  that  the  better  part  of  the  mythological  Atalanta 
"seems  to  have  been  her  heels,"  and  thinks  that  S.  had  some  other 
character  in  mind.  Toilet  suggests  that  it  \vas  "  her  beauty  and  graceful 
elegance  of  shape;"  Farmer,  "her  wit,  that  is,  the  swiftness  of  her 
mind;"  Steevens,  "the  best  part  about  her,  such  as  was  most  com- 
mended." 

Winter  remarks  on  the  passage:  "The  imagery  selected  to  discrim- 
inate the  perfections  of  Helen,  Cleopatra,  Atalanta,  and  Lucretia  was 
not  derived  from  the  abstract  consideration  of  their  general  qualities; 
but  was  caught  from  those  peculiar  traits  of  beauty  and  character  which 
are  impressed  on  the  mind  of  him  who  contemplates  their  portraits.  It 
is  well  known  that  these  celebrated  heroines  of  romance  were,  in  the  days 
of  our  Poet,  the  favourite  subjects  of  popular  representation,  and  were 
alike  visible  in  the  coarse  hangings  of  the  poor  and  the  magnificent  arras 
of  the  rich.  In  the  portraits  of  Helen,  whether  they  were  produced  by  the 


ACT  III.     SCEXE  II. 


173 


skilful  artist  or  his  ruder  imitator,  though  her  face  would  certainly  be  de- 
lineated as  eminently  beautiful,  yet  she  appears  not  to  have  been  adorned 
with  any  of  those  charms  which  are  allied  to  modesty  ;  and  we  accord- 
ingly find  that  she  was  generally  depicted  with  a  loose  and  insidious 
countenance,  which  but  too  manifestly  betrayed  the  inward  wantonness 
and  perfidy  of  her  heart.  With  respect  to  the  'majesty'  of  Cleopatra,  it 
may  be  observed  that  this  notion  is  not  derived  from  classical  authority, 
but  from  the  more  popular  storehouse  ot  legend  and  romance.  I  infer, 
therefore,  that  the  familiarity  of  the  image  was  impressed,  both  on  the 
Poet  and  his  reader,  from  pictures  or  representations  in  tapestry,  which 
were  the  lively  and  faithful  mirrors  of  popular  romances.  Atalanta,  we 
know,  was  considered  by  our  ancient  poets  as  a  celebrated  beauty  ;  and 
we  may  be  assured,  therefore,  that  her  portraits  were  everywhere  to  be 
found.  Since  the  story  of  Atalanta  represents  that  heroine  as  possessed 
of  singular  beauty,  zealous  to  preserve  her  virginity  even  with  the  death 
of  her  lovers,  and  accomplishing  her  purposes  by  extraordinary  swiftness 
in  running,  we  may  be  assured  that  the  skill  of  the  artist  would  be  em- 
ployed in  displaying  the  most  perfect  expressions  of  virgin  purity,  and  in 
delineating  the  fine  proportions  and  elegant  symmetry  of  her  person. 
J.ucretia  (we  know)  was  the  grand  example  of  conjugal  fidelity  through- 
out the  C.othic  ages  ;  and  it  is  this  spirit  of  unshaken  chastity  which  is 
here  celebrated  under  the  title  of 'modesty.' 

"  Such,  then,  are  the  wishes  of  the  lover  in  the  formation  of  his  mis- 
tress— that  the  ripe  and  brilliant  beauties  of  Helen  should  be  united  to 
t'.ie  elegant  symmetry  and  virgin  graces  of  Atalanta  ;  and  that  this  union 
of  charms  should  be  still  dignified  and  ennobled  by  the  majestic  mie/i  of 
Cleopatra,  and  the  matron  modesty  of  Lucretia." 

140.  Heavenly  synod.  S.  has  s\niod  in  six  passages,  and  in  all  but  one 
it  refers  to  an  assembly  of  the  gods.  See  Cor.  \.  2.  74,  Ham.  ii.  2.  516, 
A.  and  C.  iii.  10.  5,  and  Cymh.  v.  4.  89. 

142.   7\>nJit'S.     Traits,  features.      Cf.  v.  4.  27  below. 

144.  And  /to  lire.     See  Gr.  216  and  416,  and  cf.  v.  4.  22  below. 

145.  Jupiter.      The   folio    reading.      Spedding  suggested   "  piilpiter," 
which  is  plausible.      I),  and  the  Cam!),  ed.  adopt  it.     Rut   S.  does  not 
use  the  word  elsewhere,  nor  pulpit  (-rostra)  except  in  J.  C.     Cf.  Rosa- 
lind's "O  Jupiter!"  in  ii.  4.  i. 

151.  Scrip.  The  shepherd's  pouch.  Cf.  I  Sam.\\\\.  40,  etc.  S.  has 
the  word  only  here  and  in  A/.  J\T.  D.  i.  2.  3.  where  it  means  list. 

158.  77ie feet  were  lame.  Cf.  Per.  iv.  prol.  48  :  "the  lame  feet  of  my 
rhyme." 

162.  Should.     According  to  Abbott  (dr.  328),  used  to  denote  a  state- 
ment not  made  by  the  speaker  ;   but  it  may  possibly  depend  on  ~i<ondcr- 
ing  rather  than  on  hear. 

163.  77ie  nine  ttavs.     The  proverbial  nine  that  a  wonder  is  supposed 
to  last.     Cf.  3  lieu.  / "/.  iii.  2.  113: 

"Gloucester.   That  would  be  ten   (lays'  wonder  at   the  least. 
Clurenee.   That  "s  a  day  longer  than  ,\  wonder  laM-." 

164.  A  palm-tree.      A  stumbling-block  to  some  of  the  critics.      See  on 
i.  1.  107  above.      Coll.  >ugge>ts  that  S.  \\rote  "plane-tree  !" 


i?4 

165.  Pythagoras'  time.     M.  remarks  that  "  Ihe  opinions  of  this  phi- 
losopher are  wittily  explained  in  T.  N.  (iv.  2.  54-60),  and  forcibly  in  /)/. 
0/F.  (iv.  i.  131)." 

166.  An  Irish  rat.     Cf.  B.  ].,  Poetaster : 

"  Rhyme  them  to  death,  as  they  do  Irish  rats, 
In  drumming  tunes ;" 

Sidney,  Defence  of  Pocsie :  "Though  I  will  not  wish  vnto  you,  the  Asses 
eares  of  Midas,  nor  to  bee  driuen  by  a  Poets  verses,  (as  Bubonax  was)  to 
hang  himselfe,  nor  to  be  rimed  to  death,  as  is  sayd  to  be  doone  in  Ire- 
land, yet  thus  much  curse  I  must  send  you."  In  Scot's  Discovery  of 
Witchcraft,  the  power  of  magic  incantations  is  said  to  be  claimed  by  the 
Irish  witclus:  "The  Irishmen  addict  themselves  wonderfully  to  the 
credit  and  practice  hereof;  insomuch  as  they  affirm,  that  not  only  their 
children,  but  their  cattel,  are  (as  they  call  it)  eye-bitten,  when  they  tall 
suddenly  sick,  and  tearm  one  sort  of  their  Witches  eye-biters  ;  only  in 
that  respect :  yea  and  they  will  not  stick  to  affirm,  that  they  can  rime 
either  man  or  beast  to  death."  Randolph,  in  The  Jealous  Lovers,  v.  2, 
has  a  reference  to  the  same  belief: 

"  If  he  provoke  my  spleen,  I  Ml  have  him  know 
1  soldiers  teed  shall  mince  him,  and  my  poets 
Sliall  with  a  satire,  steep'd  in  gall  and  vinegar, 
Rhyme  'em  to  death,  as  they  do  rats  in  Ireland." 

Cf.  Pope's  version  of  Donne's  Second  Satire,  22  : 

"One  sings  the  fair:    but  songs  no  lunger  move; 
No  rat  is  rhymed  to  death,  nor  maid  to  love." 

Wr.  adds  that  the  supposed  effect  of  music  upon  these  animals  will  be 
present  to  the  recollection  of  every  one  who  has  read  Browning's  Pied 
Piper  of  f/iimeliii. 

On  that,  see  Gr.  284  ;  and  on  which,  Gr.  271. 

167.  Trine  you.     Know  you.     Cf.  T.  of  8.  i.  2.  165  :   "  Trow  you  whither 
I  am  going  ?"  etc. 

169.  And  (i  chain,  etc.  Cf.  i.  2.  229.  On  ami,  \Vr.  remarks:  "This 
irregular  and  elliptical  construction,  in  which  and  does  yeoman's  service 
for  many  words,  may  he  illustrated  by  Cor.  i.  i.  82  :  'Suffer  us  to  famish, 
and  their  storehouses  crammed  with  grain  ;'  and  Cvnib.  v.  4.  179:  '  But 
a  man  that  were  to  sleep  your  sleep,  and  a  hangman  to  help  him  to  bed, 
I  think  he  would  change  places  with  his  officer.'" 

172.  for  friends,  etc.     Halli  well  quotes  Ray,  Eng.  Proverbs:  "Friends 
may  meet,  but  mountains  never  greet ;  nions  cum  monte  non  miscebitiir  ; 
fares  cum  paribns  ;  two  haughty  persons  will  seldom  agree  together  ;" 
Three  Lcrdes  of  London,  1590:  "  I  '11  tell  thec  why  we  meet  ;  because  we 
are   no  mountains;"   and   I.vlv's  Mother  />'<>;///</<•,  1594:   "Then   we   two 
met,  which  argued  that  we  were  no  mountains." 

173.  Toilet  quotes  from  Holland's  Pli/iv  the  following,  which  S.  may 
or  may  not  have  had  in   mir.d  :   "There  happened  once  (which  I  found 
in  the  bookes  of  the  Tuscanes  learning)  within  the  territorie  of  Modena, 
(whiles  I,.  Martins  and  Sex.  lulius  were  Consuls)  a  great  strange  wonder 
of  the  Earth  :   tor  iwo  hillcs  cncountied  together,  charging  as  it  were, 


ACT  III.     SCEXE  II. 


'73 


and  with  violence  assaulting  one  another,  yea  and  retiring  againe  with  a 
most  mightie  noise." 

177.  Petitionary,  The  word  occurs  again  in  Cor.  v.  2.82:  "thy  peti- 
tionary countrymen." 

180.  Out  of  all  whooping,  licyond  all  exclamations  of  wonder.  Stee- 
vens  explains  it,  "out  of  all  measure,  or  reckoning,"  and  compares  the 
old  phrase  "out  of  cry"  or  "out  of  all  cry,"  of  which  ilalliwcll  adds 
many  examples. 

The  folio  has  "hooping,"  but  the  other  spelling  is  found  in  writers  of 
the  time. 

182.  Good  my  complexion!     "Let  me   not  blush"  (Wark).     Cf.  170 
above.     M.  explains  it  less  happily,  "  In  the  name  of  all  my  good  looks." 
J.  II.  thinks  that  Rosalind  "means  to  compliment  her  complexion  for 
having  by  its  blushes  shown  her  genuine  nature  as  a  woman." 

183.  Caparisoned.     Used  jestingly,  as  in  7'.  </-Y.  iii.  2.  67. 

184.  A  South  Sea  of  diacffVfry.      That  is,  "  to  be  searched  for  discov- 
ery "  (Schmidt)  ;  the  least  delay  is  as  bad  as  a  voyage  of  discovery. 

190.  Is  lie  <>/  t/W'j'  making?  Or  his  tailor's?  Cf.  Lear,  ii.  2.  59: 
"You  cowardly  rascal,  nature  disclaims  in  thee  :  a  tailor  made  thee  ;" 
and  Stephens,  Essaves  and  Characters,^,  1615:  ."Her  body  is  (I  pre- 
sume) of  God's  making  &  yet  I  cannot  tell,  for  many  pai  is  thereof  she 
made  her  selte"  (\Vr.). 

195.  Let  me  stay,  etc.  Tell  me  who  he  is,  and  I  '11  wait  for  the  growth 
of  his  beard.  For  j/V/j  =  wait  for,  cf.  7'.  G.  of  I '.  ii.  2.  13,  Rich.  II.  i.  3. 
4,  Miiel>.  iv.  3.  142,  etc. 

199.  S/>taA  sail  />;•<>?.',  etc.  Speak  seriously,  as  you  arc  a  true  maid. 
Cf.  Mneh  Ai/o,  i.  I.  185  :  "Speak  you  this  with  a  sad  brow?"  (see  also 
AI.  A'.  D.  p.  175)  ;  and  for  the  construction,  //<••/.  I '.  v.  2.  156  :  "  I  speak 
to  thee  plain  soldier;"  A'.  "John,  ii.  1.462:  "He  speaks  plain  cannon 
fire,"  etc.  See  also  258  below. 

206.  Wherein   went  he?     How  was   he   dressed?     Cf.  Otli.  ii.  I.  151  : 
"  went  never  gay  ;"  Lear,  ii.  4.  27  :   "  to  go  warm,"  etc.    J.  II.  prefers  to 
make  wherein  -  whereinto. 

207.  Makes.     Does.     Sec  on  i.  i.  26  above. 

208.  With.     Cf.  I\ieh.  If.  ii.  2.  2  :   "  parted  with  the  king,  etc.     Gr.  194. 
\Ve  have  "  parted  trom  "  in  iv.  }.  98  below. 

210.  Gii  r^a  nt  na's  month,     Gargantua  was  the  giant  in   Rabelais  who 
swallowed  five  pilgrims  at  a  gulp.     \\'r.  cites  Cotgrave,  /•)'.  Diet. :  "Gar- 
gantua.     Great  throat.     Rab."     Steevens  (|iiotes  from  the  Registers  of 
the  Stationers'  Company  two  items,  showing  that  in  1592  [April  6]  was 
entered  "Gargantua   his   prophcsie,"  and   in    1^94  [Dec.  4]   "A    booke 
entitnlcd,  the  historic  ot  Gargantua  iVr." 

21 1.  To  sav  ay  ana  no,  etc.      \Yr.  compares  Lear,  iv.  6.  too. 
215.    /,<><'/•.>•  he  as  freshly.      Sue  on  i.  2.  I  ^7  and  ii.  (•>.  12  above. 

217.  Atomies.  Atoms,  motes.  Ct.  A'.  i"/,i  '7.  i.  4.  57  and  2  I  leu.  //".  v.  4. 
33.  \Vr.  <[uotes  Cockerain  (f"'.iii,r.  f>i,f.}.  who  defines  "atomy"  as  "A 
mote  flying  in  the  Sunnc-beames."  <..'(.  Milton,  //  /V;/j.  7: 

"As  tl.ii k  ami  i.unilHTl.-ss 
As  tlio  K''y  nu.ics  ilial   |  coplc  llic  siinbcanii." 


176  NOTES. 

Resolve  —  solve,  answer  ;  as  in  3  Hen.  VI.  iv.  I.  135,  etc. 

219.  Ofrserr-aiiee.  Observation,  attention.  Cf.  Oth.  iii.  3.  151  :  "scat- 
tering and  unsure  observance,"  etc. 

221.  Jcn-e's  tree.  Cf.  3  Hen.  VI.  v.  2.  14:  "Jove's  spreading  tree." 
The  oak  was  sacred  to  Jupiter.  \Vr.  quotes  Virgil,  Ceor.  iii.  332  : 

"  Sicubi  iiu-ii.i  Jovis  antique  robore  queicus 
Iiigcutcs  tend. u   ranios." 

225.  Stretched  along.     See  on  ii.  i.  30  above. 

228.  The  ground.     The  background  of  the  pictuie,  as  Caldecott  ex- 
plains it ;  though  it  may  have  its  ordinary  meaning. 

229.  Holla.     Used  in  checking  horses.     Cf.  V.  and  A.  284: 

"  What  rccketh  he  his  rider' .i  angry  stir, 
His  flattering  '  Holla,'  or  h  s  •  Stand,  1   say:'  " 

On  cnii-ets,  cf.  I',  and  A.  279:  "rears  upright,  curvets,  and  leaps." 
\Ve  have  the  noun,  accented  on  the  last  syllable,  in  A.  IV.  ii.  3.  299  :  "  the 
Dound  and  high  curvet  Of  Mars's  fiery  steed."  Modern  authorities  are 
divided  on  the  accent  of  both  verb  and  noun.  Sec  \Vorc. 

230.  I-'urnished.    Dressed,  equipped.    Cf.  epil.  8  below  ;  also  i  //<•;/.  IV. 
v.  3.  21  :  "  furnish'd  like  the  king,"  etc. 

231.  I/cart.     There  is  a  play  on  the  word  ;  as  in  T.  Ar.  iv.  1.63,  J.  C. 
iii.  I.  208,  /'.  and  A.  502,  etc. 

233.  K r ingest  me  out.  Put  me  out  ;  as  in  236  below.  Cf.  I..  L.  L.  v. 
2.  171  :  "that  brings  me  out." 

237.  By.  Aside.  So  "  walk  by  "  —  step  aside,  in  Oth.  v.  2.  30  ;  "  stand 
by  "  —  stand  aside,  stand  back,  in  Much  Ado.  iv.  I.  24,  T.  of  S.  i.  2.  143,  etc. 

239.  Had  us  liet  /tare  been.     Cf.  Mitch  Ado,  ii.  3.  84,  and  see  on  i.  i. 
133  above.    Myself  alone —  ty  myself;  an  expression,  as  we  are  told,  still 
used  in  Scotland. 

240.  I-'ashion  sake.     See  on  126  above. 

242.  Cod  l>e  7i'/'  you.  "  (Joel  buy  you  "  in  the  folio  ;  as  in  iv.  I.  28  and 
v.  3.  38  below,  and  many  other  passages.  Some  suppose  our  good-bye  to 
be  the  same  phrase.  See  \Vb. 

246.  Moe.  More  ;  the  folio  reading  here  as  in  forty  or  more  other 
passages,  though  we  find  "more"'  in  244  just  above.  The  form  is  re- 
quired by  the  rhyme  in  A',  of  L.  1479  and  Mitch  Ado,  ii.  3.  72.  As  \Vr. 
notes,  moe  appears  to  be  used  only  with  the  plural.  In  the  one  apparent 
exception  in  the  folio  (Temp,  v.  I.  234:  "mo  cliversitic  of  sounds")  the 
expression  is  virtually  a  plural. 

249.  Just.  Just  so  ;  as  in  M.  for  M.  iii.  i.  68,  J///r//  Ado,  ii.  i.  29,  v.  I. 
164,  Hen.  I',  iii.  7.  158,  etc. 

256.  Conned.  Learned  by  heart  ;  as  in  .17.  X.  D.  i.  2.  102,  Hen.  I',  iii. 
6.  79,  etc. 

2^7.  Out  of  rings.  Alluding  to  the  "posies"  or  mottoes  inscribed  on 
rings.  Sue  Mer.  p.  164. 

258.  /  an.^i'er  von  right  pointed  eloth.  For  the  construction,  sec  on 
199  above.  Painted  eloth  alludes  to  the  tapestry  hangings  for  rooms, 
which  were  ornamented  with  figures  and  mottoes.  Cf.  K.  cf  L.  24=;, 
/,.  /,.  /..  v.  2.  579,  i  lien.  II'.  iv.  2.  28,  and  'I',  and  C.  v.  10.  47.  Steevens 
quotes  Randolph,  The  Muse's  l.ookiii^-xliiss,  iii.  I  : 


ACT  III.     SCENE  II.  177 

"Then  for  the  painting,  I  bethink  myself 
'1  li.it  1  have  seen  in  Mother  Redcap's  hall, 
In  painted  cloth,  the  story  of  the  Prodigal." 

llalliwcll  adds  from  No  Whipping  HOT  Tripping,  1601  : 

"  Read  what  is  written  on  the  painted  cloth  : 
Do  no  man  wrong;  be  good  iinio  the  poor ; 
Be«are  the  mouse,  the  maggot  and  the  moth, 
And  ever  have  an  eye  unto  the  door,"  etc. 

263.  No  breather.  Cf.  Sonii.  Si.  12  :  "  all  the  breathers  of  this  world  ;" 
and  A.  and C.  iii.  3.  24  :  "a  body  rather  than  a  life,  A  statue  than  a  breath- 
er." Halliwell  refers  to  i  Cor.  xi.  28,  and  quotes  Law's  remark  that 
"  every  man  knows  something  worse  of  himself  than  he  is  sure  of  with 
respect  to  others." 

268.  By  my  troth.     See  on  i.  2.  79  above. 

286.  Sighing  every  minute,  etc.     Cf.  Rich.  II.  v.  5.  50-58. 

291.  Who.     See  6r.  274. 

297.  A  se'nnight.     A  week.     Q.L  fortnight  =  fourteen  nights. 

298.  Year.     Cf.   Sonn.    II.    8:    "threescore    year;"     Temp,   i.    2.    53: 
"Twelve  year  since,  Miranda,  twelve  year  since,"  etc.     See  Run.  II. 
p.  182,  note  on  A  thousand  pound. 

315.  fringe.     Fairholt,  in  his  Costumes,  gives  representations  of  petti- 
coat fringes  from  portraits  of  the  Elizabethan  age. 

316.  Native.     Cf.  Ham.  i.  4.  14  and  iv.  7.  180.     S.  has  natwe  as  a  noun 
(=source)  only  in  Cor.  iii.  I.  129  :  "  the  native  of  our  so  frank  donation  ;" 
where  some  critics  would  read  "motive." 

317.  Cony.    Rabbit.    Cf.  V.  and  A.  687  and  Cor.  iv.  5.  226.     Kindled = 
littered,  born  ;  still  used  of  hares  and  rabbits  in  some  provincial  dialects. 
Halliwell  quotes  Palsgrave,  1530:  "A  konny  kyndylleth  every  moneth 
in  the  ^ere." 

320.  Purchase.     Get,  acquire.     Cf.  Mer.  ii.  9.  43:  "purchased  by  the 
merit  of  the  wearer  ;"  Rich.  II.  i.  3.  282  :  "  I  sent  thee  forth  to  purchase 
honour,"  etc. 

Removed  —  retired.  Cf.  W.  T.  v.  2. 1 16  :  "  that  removed  house  ;"  M.for 
M.  i.  3.  8  :  "  the  life  removed,"  etc.  See  also  Milton,  II  Pens.  78  :  "Some 
still  removed  place." 

321.  Of.     By.     Cf.  i.  I.  103,  150,  etc.     Gr.  170. 

322.  Religions.     That  is,  a  monk  or  hermit.     Cf.  v.  4.  155,  176  below. 
So  in  Rich.  II.  v.  i.  23,  "religious  house'' =  convent. 

323.  Courtship.     Court  life  ;  with  .1  play  on  the  other  sense.     Cf.  A'. 
and  J.  iii.  3.  34. 

327.  Taxed.     Charged.     See  on  i.  2.  75  above. 

339.  Fancy-monger.     Love-monger.     See  (.m  fantasy,  ii.  4.  27  above. 

340.  Quotidian.     A  fever  with  daily  paroxysms.     Cf.  Lyly's  Euphues: 
"if  euer  she  ha  tie  ben  taken  with  the  feuer  of  fancie,  she  will  help  his 
ague,  who  by  a  quotidian  fit  is  conuerted  into  phrcnsie."    See  also  lien.  T. 
ii.  i.  124  :  "  lie  is  so  shakcd  of  a  burning  quotidian  tertian,  that  it  is  most 
lamentable  to  behold.'' 

343.  There  is  none.     Sec  Gr.  335. 

344.  Cage  cf  rushes.     That  is,  weak  bondage. 

M 


I78  AOTES. 

347-  4  Mi"  tyt.     Cf.  K.  of  L.  1587  : 

"  And  round  about  her  tear-distained  eye. 
ISlue  circles  stream' d,  like  rainbows  in  the  sky." 

So  in  "blue-eyed  hag,"  in  Temp.  i.  2.  270. 

348.  Unquestionable.  Disinclined  to  question  or  conversation.  Cf. 
questionable  in  //<;/«.  i.  4.  43.  For  question  —  talk,  conversation,  see  iii.  4, 
32  and  v.  4.  156  below. 

350.  Simply.  Indeed,  absolutely.  Cf.  M.  A'.  D.  iv.  2.  9  :  "  he  hath  sim- 
ply the  l>est  wit  of  any  handicraft  man  in  Athens  ;"  Hen.  V.  iii.  7.  105  : 
"  lie  is  simply  the  most  active  gentleman  of  France,"  etc. 

Having- property,  possession.  Cf.  A/.IV.  iii.  2.  73  :  "the  gentleman  is 
of  no  having  ;"  Cvmb.  i.  2.  19  :  "  he  added  to  your  having,"  etc. 

352.  Ungartereti.     Cf.  T.  G.  ofV.  ii.  i.  79  and  Ham.  ii.  I.  80. 

Bonnet  =  \\nt;  as  elsewhere  in  S.  Cf.  /'.  and  A.  339:  ''his  bonnet" 
(called  "his  hat"  in  351  just  below),  etc.  Stubbes  (Anatomie  of  Abuses, 
1583,  quoted  by  N\'r.),  describing  the  various  fashions  in  hats  of  his 
time,  says,  "  An  other  sort  have  round  crownes,  sometimes  with  one 
kindc  of  bande,  sometime  with  an  other  ;  nowe  blackc,  now  white,  now 
russet,  now  red,  now  greene,  now  ycllowe,  now  this,  nowe  that,  never  con- 
tent with  one  colour  or  fashion  two  dayes  to  an  ende."  He  also  men- 
tions with  great  scorn  a  fashion  which  had  come  in  from  France  of 
wearing  hats  without  bands.  Cf.  B.  J.,  Every  A  fan  Out  of  his  Humour, 
iv.  4:  "  I  had  on  a  gold  cable  hatband,  then  new  come  up,  which  I  wore 
about  a  murrey  French  hat  I  had."  For  an  illustration  of  the  whole  pas- 
sage see  I  Icy  wood's  Fair  Maid  of  the  Exchange : 

"  No  by  my  troth,  if  every  tale  of  love, 
Or  love  it  selfe,  or  foole-bewitching  beauty. 
Make  me  crosse-rirme  my  selfe;  study  ny-mees; 
Defie  my  hat-band  ;  tread  beneath  my  feet 
Shoo-strings  and  garters ;  practise  in  my  glasse 
l)istressed  lookes,  and  drv  my  liver  up. 
With  sighes  enough  to  win  an  argosie." 

355.  Point-device.  "Up  to  the  best  mark  devisable"  (M.),  affectedly 
nice.  Cf.  L.  L.  I.,  v.  1.21  and  T.  N.  ii.  5.  176. 

362.  In  good  sootk.    In  very  truth.    See  Aler.  p.  127  or  AI.  N.  D.  p.  153. 

366.  He.     See  on  10  above. 

372.  A  dark  house,  etc.  The  usual  treatment  of  lunatics  until  a  very 
recent  date.  Dr.  Brown,  a  high  medical  authority  of  seventy  years  ago, 
seiiously  maintained  that  "the  patient  ought  to  be  struck  with  fear  and 
terror,  and  driven  in  his  state  of  insanity  to  despair  ;  as  a  remedy  against 
over  muscular  excitement  the  labour  of  draught  cattle  should  be  imposed 
on  him  ;  the  diet  should  be  the  poorest  possible,  and  his  drink  only  wa- 
ter." Cf.  T.  N.  iii.  4.  148,  v.  I.  350,  C.  of  K.  iv.  4.  97,  etc. 

379.  Aloonish.  Changeable,  variable  ;  or  possibly,  as  Halliwell  sug- 
gests, foolish,  weak.  B.  J.  uses  moonlingm.  the  sense  ot  fool. 

386.  Drave.     Cf.  T.  and  C.  iii.  3.  190,  A',  and  jf.  i.  I.  127,  etc.     S.  also 
uses  drm-e  for  the  past  tense  (M.  II'.  v.  5.  131,  etc.),  and  driven  and  drovc-n 
(A.  atid C.  iv.  7.  5)  tor  the  participle. 

387.  Living.     Real,  as  opposed  to  mad.     Cf.  Olh.  iii.  3.  409  :  "a  living 
reason." 


ACT  III.     SCENE  III. 


179 


389.  Merely.    Absolutely.    Cf.  Temp.  i.  I.  59  :  "  we  are  merely  chea'cd 
of  our  lives,"  etc.     See  J.  C.  p.  129,  note  on  Merely  upon  myself. 

390.  Liver.     Considered  the  seat  of  love.     Cf.  Temp.  iv.  i.  56,  Much 
Ado,  iv.  i.  233,  etc.     See  also  liver-vein  in  L.  L.  L.  iv.  3.  74,     The  simile, 
as  Steevens  remarks,  is  in  keeping  with  Rosalind's  assumed  character 
of  a  shepherd. 

SCENE  III. — i.  Audrey.  A  contraction  of  EthelJreda.  The  word 
tawdry  is  said  to  be  a  corruption  of  Saint  Audrey.  See  \V!>. 

3.  Feature.  Shape,  personal  appearance  (Schmidt).  Cf.  Sunn.  113. 
12,  Temp.  iii.  I.  52,  etc.  It  may  here  be— "facture"  (or  making  in  the 
early  Knglish  sense  of  composition,  verses),  as  Mr.W.Wilkins  explains  it. 

5.  Goats.  There  is  a  play  on  this  word  and  Got/is,  which  seems  to 
have  had  the  same  pronunciation.  So,  as  \V.  has  shown,  with  moth  and 
mote,  nothing  and  noting,  etc.  Caldecott  remarks  that  in  our  early  print- 
ing Goths  and  Gothic  were  spelt  Gotcs  and  Gottishe.  He  quotes  Thomas, 
Jlist.of  Italye,  1561  :  "against  the  gotes"  (that  is,  Goths).  Capricioin 
is  apparently  used  here  on  account  of  its  derivation  (Latin  caper,  goat). 

7.  Ill-inhabited.  Ill-housed.  See  dr.  294.  For  the  allusion  to  the 
story  of  Philemon  and  Baucis,  cf.  Much  Ado,  ii.  I.  99. 

II.  A  great  reckoning,  etc.  A  large  bill  for  a  small  company  or  a 
mean  entertainment.  J.  II.  explains  it,  "an  extensive  reckoning  to  be 
written  out  in  very  small  space." 

1 8.  Mav  be  said.  M.  Mason  wished  to  read  "it  may  be  said  ;"  but  it 
is  more  likely  a  "confusion  of  construction  "  (cf.  Gr.  415)  for  "may  be 
said  to  be  feigned/' 

22.   lloiu-st.     See  on  i.  2.  34  above. 

25.  Hard-ftwoured.  Ill-favoured  (cf.  i.  2.  35  above),  ugly.  Cf.  V.  ana 
A.  133  :  "  Were  I  hard-favour'd,  foul,  or  wrinkled-old  ;"  //<?//.  I',  iii.  I.  8  : 
"  Disguise  fair  nature  with  hard-favour'd  age,"  etc. 

28.  Material.     "Full  of  matter"  (ii.  I.  68),  sensible. 

34.  Foul.  Plain,  ugly;  as  in  the  passage  from  y.  and  A.  just  quoted, 
and  in  iii.  5.  62  below. 

44.  Slugger.     Waver,  hesitate  ;  as  in  M.  \V.  iii.  3.  12,  etc. 

45.  What  though  ?     What  of  it?     Cf.  /)/.  IV.  i.  i.  286,  //<•>/.  /'.  ii.  i.  9, 
etc.     Gr.  64. 

46.  Necessary.     Unavoidable  ;  as  in  J.  C.  ii.  2.  36,  etc. 

50.  Arc  horns  given,  etc.     The  emendation  of  the  Coll.  MS.  for  the 
folio  reading  :  "homes,  euen  so  poore  men  alone  :   No,  no,"  etc.     Theo. 
pointed   it  thus:   "Horns? — even  so: — poor  men  alone?"       D.  reads: 
"  Horns?  ever  to  poor  men  alone?"     Sundry  other  changes  have  been 
proposed. 

51.  l\ascal.     A   lean   or  worthless  deer.      Puttenham,   in  his  English 
Pocsic,  says:    "raskall  is  properly  the    hunter's   terme   given   to   young 
decre,  leane  and  out  of  season."     Cf.  Palsgrave  :   "  Kascall,  refuse  beest, 
;  t'/its  ;"  Ouarles,  I'irgnt  lt'ii/<>7i> :   "And  have  known  a  rascal  from  a  fat 
deer;"   Lovelace,  I.ucasta  :  "  Passe  rascall   (leave,  strike  me  the  largest 
doe,"  etc.     For  a  play  on  the  word,  see  Cor.  i.  II.  63,  2  lien.  II',  ii.  4. 
45,  v.  4.  34,  etc. 


l8o  NOTES. 

53.  Afore  wort/tier.     See  on  iii.  2.  56  above. 

55.  By  lunu  much,  etc.     See  on  v.  2.  41  below. 

57.  Sir.     "The  style  of  a  priest,  answering  to  dominiis"  (Halliwall). 

61.  On  gift  of  any  man.  The  idea  seems  to  be  that  what  is  given 
away  is  not  worth  having. 

66.  God  'ield  you.  God  yield  you,  reward  you.  See  Macb.  p.  175,  and 
cf.  v.  4.  53  below.  The  full  form  ("  the  gods  yield  you  for  't !")  occurs  in 
A.  and  C.  iv.  2.  33. 

70.  Bow.     The  English  editors  explain  ox-bow  as  a  provincialism,  but 
it  is  in  common  use  in  New  Kngland.     Cf.  /f//  =  thill  (Afer.  p.  139). 

71.  falcon.     The  female  bird  (see  Schmidt  or  Wb.),  the  male  bird  be- 
ing called  tercel  or  tassel  (cf.  T.  and  C.  iii.  2.  56  and  A',  and  J.  ii.  2.  160). 
Falcon  is  masculine  in  A",  of  L.  506,  but  this  is  because  it  is  applied  meta- 
phorically to  Tarquin.     On  the  bells,  cf.  A',  of  L.  511  and  3  Hen.  VJ.  \. 
1.47. 

79.  But  I  were  better.  That  it  were  not  better  for  me.  Cf.  2  Hen.  IV. 
i.  2.  245,  T.  N.  i.  2.  27,  etc.  The  construction  was  originally  Impersonal 
(  =  to  me  it  were  better),  like  if  I  please,  etc.  See  on  i.  i.  85  above,  or 
Or.  230,  352. 

86.  O  sweet  Oliver.  A  quotation  from  a  ballad  of  the  time.  Steevens 
says  :  "  In  the  books  of  the  Stationers'  Company,  Aug.  6,  1584,  was  en- 
tered, by  Richard  Jones,  the  ballad  of 

'  O  swcte  Olyuer 
Leaue  me  not  behind  the.' 
Again  [Aug.  20! , 

I  he  answearc  of  O  swecte  Olyuer.' 

Again,  in  1586  [Aug.  i], 

'O  sweete  Olyver  altered  to  ye  scriptmes.'  " 

90.  Wind.  Steevens  notes  that  7tvW=wend  in  Casar  and  Pompcy, 
1607:  "  Wincle  we  then,  Anthony,  with  this  royal  queen,"  etc.  It  may 
be  =turn,  as  in  J.  C.  iv.  i.  32,  etc. 

94.  Fiout.  Mock,  jeer;  as  in  i.  2.41  above,  etc.  For  calling,  see  on 
i.  2.  216  above. 

SCENK  IV. — 8.  Than  Jiuhiis.  It  was  a  current  opinion  that  Judas 
had  red  hair  and  beard,  and  he  was  commonly  so  represented  in  the 
paintings  and  tapestries  of  the  time.  Cf.  Mansion,  Insatiate  Countess, 
1613  :  "  I  ever  thought  by  his  red  beard  he  would  prove  a  Judas  ;"  Mid- 
dletun,  Chaste  Maid  in  Cheapside,  1620:  "Sure  that  was  Judas  with  the 
red  beard,"  etc. 

II.  Your  chestnut.  A  common  colloquial  use  of  your.  Cf.  v.  4.  59  be- 
low ;  also  M.  N.  D.  i.  2.  95,  iii.  i.  33,  iv.  i.  36,  etc.  Ci.  221. 

14.  Holy  bread.     Sacramental  bread.     Warb.  wished  to  read  "beard  ;" 
that  is,  "the  kiss  of  an  holy  saint  or  hermit  !" 

15.  Cast.     Cast  off,  discarded.     C't'.  Hen.  I '.  iv.  I.  23  :   "  casted  slough  ;" 
Hen.  I'fll.  \.  3.  48:   "your  colt's  tooth  is  not  cast  yet,"  etc.     The  later 
folios  read  "chast."     For  the  allusion  to  Diana,  cf.  Muck  Ado,  iv.  I.  58, 
T.  of  A.  iv.  3.  387,  Cor.  v.  3.  65,  etc. 


ACT  III.     SCENE   V.  jgi 

16.  Winter's  sisterhood.  That  is,  "an  unfruitful  sisterhood"  (Warb.). 
Cf.  M.  N.  D.  i.  I.  72  : 

"To  live  a  barren  sister  all  your  life, 
Chaining  faint  hymns  to  the  cold  fruitless  moon." 

Theo.  would  read  "  Winifred's  sisterhood." 

22.  Pitk-pttrse.     Pickpocket;  as  in  M.  /F.  i.  i.  163,  L.  L.  L.  iv.  3.  208, 
etc. 

23.  Verity.     Faith,  honesty;   as  in  Macb.  iv.  3.  92:   "justice,  verity, 
temperance." 

24.  A  covered  goblet.    Wr.  says  :  "  which  having  a  convex  top  is  more 
hollow  than  a  goblet  without  a  cover ;"  but  perhaps  better,  as  M.  gives 
it,  because  the  cover  is  on  only  when  the  cup  is  empty. 

29.  The  word  of  a  tapster.  Who  would  cheat  in  his  reckoning.  Cf. 
L.L.L.  i.  2.  42  :  "  I  am  ill  at  reckoning  ;  it  fitteth  the  spirit  of  a  tapster ;" 
T.  and  C.  i.  2.  123  :  "a  tapster's  arithmetic,"  etc. 

32.  Question.  Talk,  conversation.  Ct.  v.  4.  156  below;  also  \V.  T.  iv. 
2.  55,  etc.  See  on  iii.  2.  348  above. 

35.  What.  For  what,  why.  Cf.  J.  C.  ii.  I.  123  :  "  What  need  we  any 
spin,"  etc.  Gr.  253. 

37.  A  brave  man!  A  fine  fellow  !  Cf.  for  the  irony  Temp.  iii.  2.  12  : 
"  lie  were  a  brave  monster  indeed,"  eic.  See  on  bravery,  ii.  7.  So  above. 

39.  Traverse.    Crosswise;  that  is,  clumsily.     It  was  thought  disgrace- 
ful to  break  a  lance  across  the  body  of  an  adversary,  and  not  by  a  direct 
thrust.     Ct.  Much  Ado,  v.  I.  139  :   "  give  him  another  staff:  this  last  was 
broke  cross."     Halliwell  quotes  Northward  Hoe,  1607:   "like  a  tilter 
that  had  broke  his  staves  foul  before  his  mistress." 

Lovc-r  is  feminine,  as  in  T.  G.ofl'.  i.  i.  116,  Cytnb.  \.  5.  172,  etc. 

40.  Puisny.     Puny  (which  is  the  same  word),  inferior. 

41.  A  noble  goose.     The  adjective  is  obviously  ironical;  but  Ilanmer 
wished  to  read  "a  nose-quill'd  goose"  (a  term  in  falconry),  and  Fanner 
approved  the  change. 

44.  Of  loi'e.     That  is,  of  the  want  of  it   (Schmidt).     See  on  ii.  3.  12 
above,  and  cf.  iii.  2.  28. 

45.  Who.     For  who  following  that,  see  Gr,  260;  and  for  the  form,  Gr. 
274.     The  later  folios  have  "  Whom." 

48.  Pageant.     Cf.  M.  N.  !*>,  iii.  2.  114  :   "  Shall  we  their  fond  pageant 
see  ?" 

49.  Pale  complexion.     Perhaps  alluding  to  the  popular  belief  that  the 
heart  lost  a  drop  of  blood  with  every  sigh.     Cf.  /!/.  /V'.  D.  iii.  2.  96  : 

"  All  fancy-sick  she  is,  and  pale  of  cheer 
With  sighs  of  love,  that  costs  the  fresh  blood  dear;" 

and  see  note  in  our  ed.  p.  165. 

S4.  See.  Not  in  the  folio,  but  inserted  by  P.  Pope  read,  "  I'ring  us 
but  to  this  sight  ;"  Capell,  "Come,  bring  ;"  Malone,  "  Uring  us  unto,"  etc. 

SCK.NE  V. — 5.  Falls.  For  the  transitive  use  cf.  Tevip.  ii.  i.  2()f>,  v.  t. 
64,  J.  C.  iv.  2.  26  (see  note  in  our  ed.  p.  160),  etc.  Gr.  291. 

6.  />'///  first  begs.  Without  first  begging.  Sec  on  iii.  2.  46  above, 
(jr.  1 20. 


182  NOTES. 

7.  Dies  and  lives.  Lives  and  dies,  gets  his  whole  livelihood.  Mr. 
Arrow-smith  (Notes  and  Queries,  i  series,  vii.  542)  compares  Komannt  of 
the  A'osf,  5790 : 

"  With  sorrow  they  both  die  and  live 
That  unto  nchcsse  lier  hertes  geve ;" 

and  Barclay,  Ship  of  Fooles,  1570  : 

"  He  is  a  foole.  and  so  shall  he  dye  and  Hue, 
That  ihinkeih  him  wise,  and  yet  can  he  nothing." 

Dr.  Ingleby  (Shakespeare  ffermeneutics,  p.  59)  admits  that  to  die  and  live 
was  sometimes  — to  live  and  die,  but  maintains  that  to  die  and  live  by  a 
thing  meant  "  to  make  that  thing  a  matter  of  life  and  death."  He  adds  : 
"  The  profession  or  calling  of  a  man  is  that  by  which  he  dies  and  lives ; 
i.  e.  by  which  he  lives,  and  failing  which  he  dies."  The  Camb.  ed.  records 
nine  "emendations"  of  the  passage,  but  none  is  needed. 

11.  Sure.     Surely.     Cf.  Temp.  i.  2.  388,  ii.  I.  315,  etc. 

12.  fa-air st.     This  contraction  of  superlatives  is  common  in  S.     Cf. 
"  civil'st "  (2  lien.  VI.  iv.  7.  66),  "  kind'st  (Macl>.  ii.  I.  24),  "  stern'st  "  (/</. 
ii.  2.  4)  "  secret'st "  (Id.  iii.  4.  126),  etc.     Gr.  473. 

16.  And  if.     An  if.     Gr.  103. 

23.  Cicatrice.    Mark,  impression.    Capable  is  apparently-  sens-ble.    Cf. 
Greene,  Orpharion,  1599:   "conducted  into  the  great  hall  of  the  gods, 
Mercury  sprinkled  me  with  water,  and  made  me  capable  of  their  divine 
presence."     Sec  also  Hani.  iv.  7.  179,  where  "incapable  of  her  own  dis- 
tress"—insensible,  etc.     For  itnpressnre,  cf.  T.  A',  ii.  5.  103  :   "Soft  !  and 
the  imprcssnre  her  Lucrece,  with  which  she  uses  to  seal  ;"  and  7\  and  C. 
iv.  5.  131  :   "my  sword  had  not  impvcssure  made." 

24.  Some  moment.     Cf.  A',  and  J.  \.  3.  257:  "some  minute  ere  the 
time,"  etc.     \Vr.  remarks  that  "sonic  was  formerly  used  with  singular 
nouns."    This  is  somewhat  indefinite.     The  word  is  still  used  with  sin- 
gular nouns  to  express  kind  or  quantity  ;  as  in  "some  fresh  cheek"  in 
29  just  below,  "some  food"  (Temp.  i.  2.  160),  etc.     \Ve  can  even  say 
"  some  half  an  hour ''  (/,.  /,.  L.  v.  2.  90),  "  some  month  or  two  "  (A/,  of  v. 
iii.  2.  9),  etc.     It  is  doubtful,  indeed,  whether  there  is  any  Shakespearian 
use   of  the  word  which   might  not  be  allowed   now.      In    Temp,  i.  2.  7 
("Who  had  no  doubt  some  noble  creature  in  her")  I).,  St.,  and  others 
read  "creatures;"  but  even  here  the  singular  would  not  be  clearly  an 
exceptional  instance. 

26.  A'or  .  .  .  no.     See  Gr.  408,  and  cf.  i.  2.  14  above. 
29.  I'ancv.     Love.     See  on  iii.  2.  339  above. 

36.  And  all  at  once.    "  And  all  the  rest,  and  everything  else  "  (Schmidt). 
See  Hen.  1T.  p.  145. 

37.  A'e  beauty.     It  would  seem  to  be  clear  enough  from  the  context 
that  Kosabr.d  is  bantering  I'hebe,  but  the  negative  has  troubled  some  of 
the  editors.     Theo.  reads  "you  have  beauty;"    Malonc,  "mo  beauty;" 
Steevens,  "more  beauty  ;"   Hanmer,  "some  beauty  ;"  and  so  on. 

39.  Dai k.  In  tlie  dark.  Cf.  A.  If.  iv.  I.  104  :  "  I  '11  keep  him  dark," 
etc. 

Seymour  explains  the  passage,  "  Your  beauty  admits  not  of  hyperbol- 
ical praise,  I  cannot  say  it  illumines  darkness  ;"  \Vr.,  "  not  being  so  very 


ACT  III.     SCENE  r.  183 

1  rilliant ;"  M.,  "  without  exciting  any  particular  desire  for  light  to  see 
il  by." 

43.  Sale-work.  "  Ready-made,"  as  we  say,  in  distinction  from  "  cus- 
tom work  "  or  that  dune  to  order. 

Oit  V  my  littU  lift.  A  petty  oath.  Cf.  Much  Ado.  iv.  2.  72  :  "God  's 
my  life  !"  See  also  "Od  's  my  will !"  in  iv.  3.  17  below  ;  "  Od  's  me  !"  in 
M.  W.  \.  4.  64.  etc. 

47.  Buiflt.     151ack  like  "bugles,"  as   beads   of  black   glass  are   still' 
called. 

48.  Entwine.     Tame,  sulnlue  ;   used  by   S.  only  here.     Gr.  440.     For 
tame  =  subdue,  see  Much  Ado,  v.  i.  210,  '/'.  of  S.  ii.  I.  278,  iv.  i.  213,  iv.  2. 
53,  58,  etc. 

50.  fos^y  south.      For   the   south  wind  as   bringing  fog  and  rain,  cf. 
A',  and  J. i.  4.   103,  2  Hen.  //'.  ii.  4.  392,  Cor.  ii.  3.  32,  Cymb.  ii.  3.  136, 
iv.  2.  349,  etc. 

51.  Properer.     Handsomer.     See  on   i.  2.  106,  and  cf.  55  and  114  be- 
low. 

53.  Stakes.     For  the  use  of  the  singular,  see  Gr.  247. 

59.  Friendly.     As  a  friend.     For  the  adverbial  use,  cf.  T.ofS.  i.  I.  141, 
iv.  2.  107,  Cor.  iv.  6.  9,  A.  amiC.  ii.  6.  47,  etc. 

60.  You  arc  ;/#/,  etc.     We  might  use  this  expression,  but  not  "This 
sky  is  not  to  walk  in"  (J.  C.  i.  3.  39),  "  He  is  not  for  your  lordship's  re- 
spect "  (A.  IV.  iii.  6.  109),  etc.     Cf.  (jr.  405. 

61.  Cry  the  man  mercy.     That  is,  beg  his  pardon.     Cf.  M.  IV.  iii.  5.  27, 
M.  A:  D.  iii.  i.  182,  etc. 

62.  Foitl  is  most  foul,  etc.     "There  is  no  ugliness  like  that  which  goes 
with  scoffing"  (M.).     See  on  iii.  3.  34  above. 

66.  If  the  text  is  right,  the  first  clause  must  be  addressed  to  Phebe, 
and  what  follows  to  Silvius.  Hanmer  changed  your  to  "  her." 

68.  Sauce.  Cf.  our  vulgarism  of  "  sassing  "  a  person.  From  meaning 
to  give  zest  or  piquancy  to  language,  the  word  came  to  be  used  ironically 
in  the  sense  of  making  it  hot  and  sharp  ;  or,  in  other  words,  from  mean- 
ing to  spice  it  came  to  mean  to  pepper.  Cf.  M.  IV.  iv.  3.  1 1  :  "I  '11  sauce 
them." 

73.   If  yon  7i'//Y  knmi',  etc.     Probably  addressed  to  Silvius. 

75.  Look  on  him  better.  Think  better  of  him,  regard  him  more  favour- 
ably. 

78.  Al>us\l.  Deceived.  Cf.  Much  Ado,  v.  2.  ico  :  ''Hero  hath  been 
falsely  accused,  the  prince  and  Claudio  mightily  abused,"  etc. 

80.  Dead  shepherd,  etc.  See  introduction,  p.  10  above.  Marlowe  was 
killed  in  a  quarrel  in  1593.  For  saw,  cf.  ii.  7.  156  above.  Of  might-- 
forcibly  true. 

88.  Extermined.     Used  by  S.  only  here.      Its  equivalent  exterminate 
he  floes  not  use  at  all. 

89.  Possibly,  as    Halliwell  suggests,  I  hi/re  is  an  allusion  to  the  Scrip- 
tural injunction,  "  thou  shall  love  thy  neighbour  as  thyself." 

93.  Since  that.      See  on  i.  3.  41  above.      Gr.  287. 

94.  Irksome.      See  on  ii.  I.  22  above. 

or.  Grace.    Kither  favour,  regard  \as  in  Much  Ada,  ii.  3.  31,  L.  L.  L.  ii.  I 


1 84  NOTES. 

60,  etc.),  or  fortune,  happiness  (as  in  M.for  M.  \.  4.  69,  M.N.D.  ii.  2.  89, 
etc.). 

102.  Loose.     I,et  fall.     Cf.  Ruth,  ii.  16. 

104.  Ercivhile.     See  on  ii.  4.  84  above. 

1 06.  Bounds.     See  on  ii.  4.  78  above. 

107.  Car/of.     Peasant ;  from  curl  (see  Cymb.  v.  2.  4),  which  has  the 
same  meaning. 

109.  Peevish.     Silly.     See  Hen.  V.  p.  171. 

112.  //  is.     See  on  i.  i.  129  above. 

1 20.  Lusty.     Lively,  fresh.     Cf.  Sonn.  5.  7,  Temp,  ii.  i.  52,  etc. 

122.  Constant.  Uniform  ;  as  opposed  to  the  mingled  damask,  or  red 
and  white.  Cf.  Sonn.  130.  5  :  "  roses  dnmask'd,  red  and  white." 

124.  In  parcels.     Piecemeal.     Cf.  "  by  parcels"  in  Oth.  i.  3.  154. 

Would  have  gone  near  to  fall— -  would  have  come  near  falling.  Cf. 
Temp.  ii.  2.  78,  Much  Ado,  iv.  2.  24,  etc. 

127.  /.     Not  in  the  1st  folio,  but  added  in  the  2d. 

128.  What  had  he  to  do,  etc.     What  right  had  he,  etc.     Cf.  M.  W.  iii.  3. 
164:  "  What  have  you  to  do  (what  is  it  to  you)  whither  they  bear  it?" 
The  phrase  is  used  absolutely  in  T.  ofS.  i.  2.  226  and  iii.  2.  218. 

130.  lam  remember  d.  I  recollect.  Cf.  M.for  M.  ii.  i.  no,  114,  T.ofS. 
5v.  3.  96,  Rich.  III.  ii.  4.  23,  etc.  See  on  ii.  7.  189  above. 

132.  Omittance  is  no  quittance.     Doubtless  a  proverbial  expression. 

133.  To  him.     W.  omits  to  :  probably  a  misprint. 

135.  Straight.  Straightway,  immediately.  Cf.  Lear,  i.  3.  25  :  "I  '11 
write  straight  to  my  sister,"  etc.  See  also  ii.  I.  69  above. 

137.  Passing.  Exceedingly  ;  as  often.  Cf.  M.  N.  D.  ii.  I.  2O,  Hen.  V. 
iv.  2.  42,  etc.  It  is  occasionally  an  adjective  ;  as  in  T.  G.  of  I',  i.  2.  17  : 
"  a  passing  shame  ;"  3  Hen.  I  'I.  \.  i.  106  :  "  O  passing  traitor  !"  etc. 


ACT  IV. 

SCENE  T. — 4.  I  do  Io7-e  it,  etc.  M.  quotes  what  Johnson  says  to  Bos- 
well  :  "  You  are  always  containing  of  melancholy,  and  I  conclude  from 
those  complaints  that  you  are  fond  of  it.  Do  not  pretend  to  deny  it  : 
manifestnm  hahennis  fnreni.  Make  it  an  invariable  and  obligatory  law 
on  yourself  never  to  mention  your  own  mental  diseases.  If  you  arc 
never  to  speak  of  them,  you  will  think  of  them  but  little  ;  and  if  you 
think  little  of  them,  they  will  molest  you  rarely." 

5.  ///  extremity  of  either.     Kxtremely  given  to   either.     Cf.  iv.  3.  23 
below. 

6.  Modern  censure.    Ordinary  judgment.     See  on  ii.  7.  1 56  above.    For 
censure,  cf.   IV.  T.  ii.  I.  37  :  "  In  my  just  censure,  in  my  tnie  opinion  ;'* 
Rich.  I  If.  ii.  2.  144:   "To  give  your  censures  in  this  weighty  business," 
etc.     So  the  verb  =  judge  in  y.  C.  iii.  2.  16,  Cor.  ii.  I.  25,  etc. 

Worse  than  drunkards.  "  For  both  alike  are  as  incapable  of  action 
as  drunkards,  and  their  state  is  more  permanent"  (M.). 

9.  Good  to  l>e  a  post.     M.  again  quotes  Johnson  :   "  I  remember  that  I 


ACT  IT.    SCENE  /.  ,85 

•was  once  at  the  house  of  a  lady  for  whom  I  have  a  high  respect.  When 
the  company  were  gone  I  said  to  her,  'What  foolish  talking  have  we 
had  !'  '  Yes,'  said  she,  'but  while  they  talked  you  .said  nothing.'  1  was 
struck  with  the  reproof.  How  much  better  is  the  man  who  does  any- 
thing that  is  innocent,  than  he  who  does  nothing  !" 

13.  Politic.    That  is,  arising  from  "professionally  assumed  or  half  real 
sympathy  with  his  client"  (M.). 

14.  Nice.    Affected,  squeamish.    Ilalliwcll  quotes  I  ley  wood,  /Vvrrr/rj  : 
"As  nice  as  a^  mimics  hen." 

15.  Simples.     The  ingredients  of  a  compound,  especially  of  herbs  and 
medicines.     Cf.  K.  of  L.  530,  K.  and  J.  v.  i.  40,  Ham.  iv.  7.  145.  etc. 

17.  My  often.     The  1st  folio  has  "  by  often,"  which  Halliwcl)  retains, 
considering  the  duplication  of///  an  instance  like  that  in  ii.  7.  139. 

1 8.  Humorous.    "  Fanciful  "  (\\'r.).    Cf.  its  use  in  i.  2.  249  and  ii.  3.  8. 
Schmidt  explains  it  here  as  "sad." 

19.  A  traveller  '.      See  on  ii.  I.  41  above. 

28.  God  l>e  Ti1/'  von.     See  on  iii.  2.  242  above  ;  and  for  «//— -if,  Gr.  101. 

30.  "See  Overbury's  Characters,  where  'An  Affectate  Traveller'  is 
described:  'He  censures  all  things  by  countenances,  and  shrugs,  and 
speakes  his  own  language  with  shame  and  lisping.'     Rosalind's  satire 
is  not  yet  without  point.     She  punishes  Orlando  for  being  late  by  pre- 
tending not  to  notice  him  till  Jaques  is  gone"  (Wr.). 

31.  Strange  suits.     Cf.  M.  oj  I',  i.  2.  79  fol.  :  "  How  oddly  he  is  suited  ! 
I  think  he  bought  his  doublet  in  Italy,"  etc.  ;  and  //<•;/.  /'///.  i.  3.  30  . 

"  tall  stockings, 
Short  blister' d  breeches,  and  those  types  of  travel." 

Disal>le  =  disparage  ;  as  in  v.  4.  73  below.  Cf.  M.  of  I',  ii.  7.  30  and 
I  Hen.  I '/.  v.  3.  67. 

33.  That  countenance.     Of  tbat  countenance,  or  national  physiognomy. 
See  Gr.  201  and  of.  i.  3.  114  above. 

34,  Swam.     The  folio  has  "sworn"  for  the  participle  in  Tctnp.  ii.  2. 
133,  and  for  the  past  tense  in  T.  G.  of  I',  i.  i.  26.  (Schmidt). 

Gondola  is  spelt  "Gundello"  in  the  folio,  and  the  word  is  still  pro- 
nounced "gundalow"  in  New  England  seaports. 

Johnson  explains  the  passage,  "That  is,  been  at  Venice,  the  sent  at  that 
time  of  all  licentiousness,  where  the  young  English  gentlemen  wasted 
their  fortunes,  debased  their  morals,  and  sometimes  lost  their  religion." 

43.  Clapfd  him  <>'  the  shoulder.  That  is,  arrested  him  (Schmidt).  Cf. 
Cynib.  v.  3.  78.  For  another  sense  (as  a  mark  of  approval  or  good-will), 
see  Much  Ath\  i.  i.  261,  L.  L.  /..  v.  2.  107.  etc. 

47.  Of.     l!y.     Cf.  iii.  2.  321  above.     Gr.  170. 

49.  Than  you  can  make.  Hamner's  correction  of  the  "you  make"  of 
the  folio. 

55.   Beholding.     Beholden.     See  Gr.  372  or  .1ft  r.  p.  135. 

6l.  Leer.  Look.  There  seems  to  be  a  tmich  of  .--arcaMTi  in  the  word, 
though  in  early  English  it  meant  .--imply  face,  aspect. 

66.  Yon  were  better.      See  on  i'i.  3.  79  above. 

67.  Grai-elled.     Snick  in  the  sand,  brought  to  a  standstill.     Wr.  quotes 
Bacuil, /£</;'.  t>j  /,.  i.  7.  S  :   "  Silenus  was  gravelled  anil  out  of  countenance.' 


!$6  NOTES. 

68.  Out.     At  a  loss  for  words.     Cf.  L.  L.  L.  v.  2.  152,  165  ;  Cor.  v.  3. 
41,  etc.     See  also  iii.  2.  233  above. 

69.  God  warn  us!    God  forbid  !     Some  have  thought  it  a  corruption 
of  "  God  ward  (ih;it  is,  guard)  us  !"     Cf.  Rich.  III.  v.  3.  254. 

77.  Ranker.     Schmidt  explains  this  as  —  "greater ;"  \V.  makes  it  = 
grosser,  worse.     Cf.  rank  in  Ham.  i.  2.  136,  iii.  3.  36,  etc.     The  Coll.  MS. 
has  "thank  my  honesty  rather  than  my  wit." 

78.  Suit,     for  the  quibble,  cf.  ii.  7.  44  above. 

86.  Was  not.  1  las  not  been.  Cf.  Hen,  /'.  iv.  7.  58  :  "I  was  not  angry 
since  I  came  to  France,"  etc.  Gr.  347. 

88.  Troilus,  etc.  "  She  will  not  give  Troilus  the  honour  of  dying  by 
Achilles'  spear,  nor  trailed  by  his  steeds,  as  in  sEit.  i.  474"  (M.).  It  is 
of  a  piece  with  Leander's  "cramp." 

94.  Chroniclers.  Hanmer  changed  this  to  "coroners,''  not  seeing  that 
Rosalind  sportively  compares  the  chroniclers  to  a  coroner's  jury. 

116.  Goto.  Come;  a  common  phrase  of  exhortation  or  reproof.  Cf. 
Temp.  v.  i.  297.  etc.  See  also  Gen.  xi.  4. 

124,  Commission.    Warrant,  authority  to  perform  the  rite. 

125.  There  'j.    Changed  by  Steevens  to  "There  ;"  but  a  relative  may 
be  "  understood."     Cf.  Gr.  244.     Goes  before  the  priest ;  that  is,  does  not 
wait  for  him  to  dictate  the  words. 

133.  April.     Cf.  J/.  of  I',  ii.  9.  93  : 

"A  day  in  April  never  came  so  sweet. 
To  show  how  costly  summer  was  at  hand,"  etc. 

Elsewhere  the  metaphor  is  drawn  from  the  rainy  April ;  as  in  A.  and C. 
iii.  2.  43  :  "  The  April 's  in  her  eyes,"  etc. 

134.  May.    Cf.  L,  L.  L.  iv.  3.  102  :  "  Love,  whose  month  is  ever  May," 
etc. 

136.  A  Barbary  cock-pigeon.     Cf.  2  Hen.  IV.  ii.  4.  108 :  "  a  Barbary 
hen." 

137.  Against.     Before,  in  expectation  of  (Schmidt)  ;  as  in  Rich.  II.  iii. 
4.  28,  etc. 

For  tieiu-ftjtigleti,  cf.  Soiin.  91.  3  and  L.  L.  L.  i.  I.  106.  Fangled  —  %\vm 
to  finery,  occurs  in  Cvmb.  v.  4.  134.  Xares  gives  examples  of  f angle  =• 
(rifle  or  toy,  from  Gayton,  I-'est.  Notes  ("  What  fnngle  now  thy  thronged 
guests  to  winne ")  and  Wood,  Atlienir  ("a  hatred  to  fangles  and  the 
French  fooleries  of  his  time  ")  ;  and  Todd  (Johnson's  Diet.)  adds  from 
Greene,  Mamillia  :  "  There  was  no  feather,  no  tangle,  Jem,  nor  jewel." 

139.  Diana  in  the  fountain.  Malone  thought  this  an  allusion  to  the 
cross  in  Chcapside,  the  religious  images  of  which  were  defaced  in  1596. 
According  to  Stow  (SitiTty  of  London,  1603),  there  was  then  "set  up  on 
the  east  side  of  the  cross  ...  a  curiously  wrought  tabernacle  of  grey 
marble,  and  in  the  same  an  alabaster  image  of  Diana,  and  water  con- 
veyed from  the  Thames  prilling  from  her  naked  breast,  but  now  decayed.'' 
This  passage  has  been  quoted  as  fixing  the  date  of  the  play  between  1596, 
"A'hen  the  image  was  set  up,  and  1603,  when  it  was  "decayed  ;"  but  it  is 
doubtful  whether  S.  had  this  Diana  in  mind.  Statues  of  the  goddess 
were  a  frequent  ornament  of  fountains,  as  Whalley  and  others  have  shown 
by  quotations  from  writers  of  the  time. 


ACT  IV.     SCEXE  I. 


187 


140.  A  hyen.  That  is,  a  hyena.  S.  mentions  the  animal  only  here. 
Wr.  quotes  Holland's  /Y/V/y,  xxviii.  8 :  "The  Hyaens  bloud  taken  in- 
wardly with  fried  barley  incale,  doth  mitigat  the  wrings  and  gripes  of  the 
bellie."  The  bark  of  the  hyena  was  supposed  to  resemble  a  loud  laugh. 
Steevens  quotes  The  CobUr^s  Prophecv,  1594:  "You  laugh  hyena-like, 
weep  like  a  crocodile."  Cf.  Greene,  Never  too  Late:  "weeps  with  the 
crocodile,  and  smiles  with  the  hiena." 

146.  Make  the  doors.     Shut  the  doors.     Cf.  C.  of  E.  iii.  I.  93:  "The 
doors  are  made  against  you."     According  to  Halliwell's  Archaic  Diet. 
the  expression  is  still  used  in  Yorkshire,  and  Dr.  Kvans  (quoted  by  \Yr.) 
says  it  is  also  heard  in  Leicestershire. 

147.  'Twill  out.     For  the  ellipsis,  cf.  i.  2.  197  ;  and  see  Gr.  405. 

151.  tVit,ivhither  ivilt'{  A  proverbial  expression,  of  which  Steevens 
and  others  quote  many  contemporaneous  examples.  It  seems  to  mean 
"  What  will  your  wit  lead  you  to?"  and  was  used  to  check  one  who  was 
talking  nonsense  or  talking  too  much. 

156.  Without  her  answer.     Tyrwhitt  quotes  Chaucer,  C.  T.  10141  : 

"  V'e,  sire,  quod  Proserpine,  and  wol  ye  so? 
Now  by  my  modre  Ceies  scmle  1   swore, 
Tliat   1   shall  yeve  hire  sumsant  answere, 
And  al!e  women  after  for  hire 'sake  : 
That  though  they  ben  in  any  gilt  ytake, 
With  face  bold  they  slnil  hemse  ve  excuse. 
And  bere  hem  doun  that  wolden  hem  accuse. 
For  lacke  of  answere.  non  of  us  shall  dien. 
Al  had  ye  seen  a  thing  with  bothe  youre  eyen. 
Vet  sluil  we  so  visage  it  hardely. 
And  \\epe  and  swere,  and  chideii  subtilly, 
That  ye  shul  ben  as  lewed  as  ben  gees.'' 

158.  ffer  husband's  occasion.  That  is,  "caused  by  him"  (Schmidt)  ; 
or  it  may  mean  "an  occasion  against  her  husband,  an  opportunity  for 
taking  advantage  of  him''1  (Wr.). 

162.  Lack.  Be  without,  do  without.  Cf.  Macb.  iii.  4.  84  :  "  Your  nob'e 
friends  do  lack  you,"  etc. 

171.  By  my  troth,  etc.  Wr.  remarks  that  Rosalind  swears,  as  Hotspur 
would  have  said  (see  I  Hen.  //'.  iii.  I.  253),  "  like  a  comfit  maker's  wife  : 
'  Not  you,  in  good  sooth,'  and  '  as  true  as  I  live,'  and  '  as  God  shall  mend 
me,'  and  '  as  sure  as  clay.'  " 

175.  Pathctical.     Perhaps  meant  to  be  a  somewhat  affected  word.     S. 
puts  it  elsewhere  only  into  the  mouths  of  Armado  (/..  L.  L.  i.  2.  103)  and 
Costard  (Id.  iv.  I.  150).     Cotgrave,  however,  uses  it  to  translate  the  Fr. 
ptithe'tique.     It  is  also  found   in    Lodge's  novel,  in   Florio's  Montaigne, 
Greene's  A't~vr  too  Late,  etc.     Waib.  changed  it  here  to  "atheistical," 
and  Grey  suggested  ''Jesuitical." 

176.  J/o'ilin-.'.     Cf.  concai'c  in  iii.  4.  23  above. 

I  Si.  The  old  justice.  Steevens  quotes  T.  and  C.  iv.  5.  225  :  "  that  old 
common  arbitrator, Time." 

182.  Simply  misitst'J.     Absolutely  abused.     See  on  iii.  2.  350  above  ; 
and  cf.  Much  Ado,  ii.  i.  246,  elc. 

183.  //•'(•  must  lia~'e,  etc.      Ct.  Lodge's  novel  :   "  And  I  pray  you,  quoth 
'Xliena,  it  youi    mbes   \\cre  off,  what  inettal  are  you  made   .>!  that  you 


1 88  NOTES. 

are  so  satyrical  against  women  ?  is  it  not  a  foulc  bird  defiles  his  own 
nest  ?" 

189.  The  bay  of  Portugal.  Wr.  observes:  "In  a  letter  to  the  Lord 
Treasurer  and  Lord  High  Admiral,  Ralegh  gives  an  account  of  the  cap- 
ture of  a  ship  of  Bayonne  by  his  man  Captain  Floyer  in  '  the  Bay  of 
Portugal'  (Edwards,  Lift;  of  A'uleg/i,  ii.  56).  This  is  the  only  instance  in 
which  I  have  met  with  the  phrase,  which  is  not  recognized,  so  far  as  I 
am  aware,  in  maps  and  treatises  on  geography.  It  is,  however,  I  am  in- 
formed, still  used  by  sailors  to  denote  that  portion  of  the  sea  off  the 
coast  of  Portugal  from  Oporto  to  the  headland  of  Cintra.  The  water 
there  is  excessively  deep,  and  within  a  distance  of  forty  miles  from  the 
shore  it  attains  a  depth  of  upwards  of  1400  fathoms,  which  in  Shake- 
speare's time  would  be  practically  unfathomable." 

192.  Thought.     Halliwell  explains  it,  "  moody  reflection,  melancholy." 
See  y.  C.  p.  146,  note  on  Takf  thought,  and  die.     Schmidt  makes  it  = 
love  ;  as  in  T.  6\  of  V.  i.  I.  69,  T.  A',  ii.  4.  115,  etc. 

Spleen  =  caprice.  The  word  means  "any  sudden  impulse  or  fit  beyond 
the  control  of  reason  "  (Schmidt).  Cf.  7.  of  S.  iii.  2.  10:  "A  mad-brain 
rudesby,  full  of  spleen  ;"  etc.  It  is  used  figuratively  in  this  sense  in 
M.N.D.\.  i.  146: 

"  Hiief  ns  the  lightning  in  the  collied  night, 
That,  in  a  spleen,  unfolds  both  heaven  and  earth,"  etc. 

193.  Abuses.     Deceives.     See  on  iii.  5.  78  above. 

195.  Shadow.  Shade,  shady  spot.  Cf.  V.  and  A.  191,  RiJi.  II.  iii.  4. 
25,  etc.  Stecvens  quotes  Alacb.  iv.  3.  i  : 

"  Let  us  seek  out  some  desolate  sliadt,  and  there 
Weep  our  sad  bosoms  empty." 

SCENE  II. — n.  His  leather  skin,  tic.  Steevens  quotes  Lodge's  novel : 
"What  news,  forrester  ?  hast  thoti  wounded  some  deere,  and  lost  him  in 
the  fall  ?  Care  not  man  for  so  small  a  losse  ;  thy  fees  was  but  the  skinnc, 
the  shoulder,  and  the  horns." 

12.  In  the  folios  this  line  and  the  stage  direction  are  printed  as  one 

line  : 

"Then  sing  him  home,  the  rest  shall  beare  this  burthen." 

Theo.  was  the  first  to  give  "The  rest  shall  bear  this  burthen  "  as  a  stage 
direction.  K.  regards  the  whole  as  a  stage  direction,  and  omits  it.  Coll. 
and  I),  print  it  in  different  type  ;  W.  does  the  same,  reading  "  They"  for 
"Then."  Barron  Field  conjectured, 

"  Men  sing  him  home,  the  rest  shall  bear  [This  burthen." 
Halliwell  prints, 

"Then  sing  him  home,  the  rest  shall  bear — This  burthen." 

13.  Take  thou  no  scorn.     Cf.  lien.  /".  iv.  7.  107  :  "  your  majesty  takes  no 
scorn  to  wear  the  leek  ;"  and  I  Hen.  I' I.  iv.  4.  35  :   "  And  take  foul  scorn 
to  fawn  on  him." 

17.  I.nstv.  Jocosely  =  gallant ;  or,  as  Schmidt  gives  it,  "  almost  = 
merry." 


AC T  IV.     SC£A'£  II f.  189 

SCENE  III. — Johnson  remarks  that  "the  foregoing  noisy  scene  was 
introduced  to  fill  up  an  interval,  which  is  to  represent  two  hours." 

2.  Much  Orlando!  Spoken  ironically,  of  course  ;  but  J.  H.  thinks  it 
necessary  to  print  "And  here — much,  Orlando!"  and  to  explain  it,  "To 
be  here  is  too  much  trouble  for  you,  Orlando!"  The  Camb.  ed.  notes 
five  stupid  attempts  in  the  way  of  "emendation." 

7.  Bid.     Often  used  by  S.  as  the  past  tense.     Cf.  M.  N.  D.  iv.  i.  192, 
T.  of  S.  i.  2.  30  (but  bade  in  37  just  below),  etc.     The  participle  is  bid  in 
every  instance  except  Much  Ado,  iii.  3.  32  (Verges's  speech),  where  it  is 
bidden.    Cf.  i.  2.  53  above.     In  the  present  passage,  the  1st  folio  has  "  did 
bid,"  the  later  folios  "  bid." 

8.  Contents.     Accented  as  in  21  and  in  v.  4.  125  below;  and  so  inva- 
riably in  S.,  we  believe.     Cf.Worc. 

9.  Action.     A  trisyllable.     See  on  i.  2.  247  above.    Or.  479. 

10.  Of.     See  on  ii.  4.  40  above.     Gr.  178. 

14.  Swaggerer.  Hully.  Cf.  2  Hen.  J  I',  ii.  4.  81,  83,  91,  104,  etc.  For 
the  thought,  ci.M.forM.  iii.  2.  207:  "This  would  make  Mercy  swear 
and  play  the  tyrant." 

16.  And  that.     And  says  that.     Gr.  280  (cf.  415). 

17.  As  rare  as  phcenix.     Cf.  Temp.  iii.  3.  21  : 

"  Now  I  will  believe 
That  there  are  unicorn*,  that  in  Arabia 
There  is  one  tree,  the  phoenix'  throne,  one  phcenix 
At  this  hour  reigning  there." 

In  L.  C.  93  pha-nix  is  used  as  an  adjective  =  matchless.  According  to 
the  familiar  fable,  but  one  phcenix  existed  at  a  time,  having  risen  from 
the  ashes  of  its  predecessor.  See  allusions  to  the  story  in  3  Hen.  VI.  i. 
4.  35,  Hen.  VIII.  v.  5.  41.  etc. 

OJ's  my  ivill !     See  on  iii.  5.  43  above. 

23.  Turn'd  into.  15rought  to.  Cf.  T.  G.  of  V.  iv.  4.  67  :  "turns  me  to 
shame  ;"  Temp.  i.  2.  64  :  "  the  teen  that  I  have  turn'd  you  to,"  etc. 

27.  A  hnnvift's  hand.     The  hand  of  a  wot  king  housewife. 

32.  Defies.     For  a  different  sense,  see  epil.  17  below. 

33.  Woman's.     Howe's   correction   of  the  "  women's "  of  the   folios, 
which  some  eds.  retain. 

34.  Giant-rude.     Gigantically  or  preposterously  rude.     Gr.  430. 

35.  Ethiope.     Not  used  elsewhere  by  S.  as  an  adjective.     For  the 
noun,  cf.  T.  G.  of.  V.  ii.  6.  26,  L.  L.  L.  iv.  3.  1 18,  268,  M.  A'.  D.  iii.  2.  257,  etc. 

37.  So  please  yon.     See  on  i.  i.  85  above  ;  and  for  heard,  on  iv.  I.  86. 

39.  Pitches.     Addresses  me  in  the  same  "cruel  "  strain. 

44.  Laid  apart.  Laid  aside.  Cf.  licit.  I',  ii.  4.  "8:  "and  lay  apart 
The  borrowed  glories,"  etc.  ;  also  15.  J.,  7\>  Cvnthia :  "  Lay  thy  bow  of 
pearl  apart,"  etc. 

48.  Vengeance.     "Mischief"   (Johnson  and  Schmidt).     Cf.  T.  A.  ii.  3. 
113  :   "This  vengeance  on  me  had  they  executed." 

49.  Meaning  me,  etc.      Meaning  that  I  am.  etc. 

50.  /f )'//<•.      Also  written  even  ;  an  old  plural  analogous  to  <>.iv//,  sJiiwn, 
etc.      It  is  used  li'ilhout  rhyme  in  A',  of  I..  1229  and  Per.  iii.  prol.  5. 

52.   Alack.      Ala.-*.      S.  uses  the  two  words  interchangeably.     Thus  we 


I9o  NOTES. 

have  "  alas  the  day  !"  in  iii.  2.  204  above,  and  "  alack  the  day  !"  in  M.  of 
V.  ii.  2.  73,  etc, 

53.  Aspect.    Perhaps  used  in  its  astrological  sense,  the  eyes  being  com- 
pared to  stars.     Cf.  R.  of  L.  14,  Sonn.  26.  10,  W.  T.  ii.  I.  107,  T.  and  C.  i. 
3.  92,  I  Hen.  IV.  i.  I.  97,  etc.     The  accent  of  the  word  in  S.  is  always  on 
the  last  syllable.    Gr.  490. 

54.  Whiles.    See  on  ii.  7.  128  above.     C///</is  the  regular  past  tense  of 
chide  in  S.,  the  participle  being  chid  or  chidden. 

55.  Prayers.     A  dissyllable  ;  as  often.     Gr.  478. 

58.  By  him  seal  up,  etc.     That  is,  send  a  sealed  letter  by  him  to  let 
me  know,  etc. 

59.  Kind.     Nature  ;  as  in  A.  W.  i.  3.  67,  etc.      Youth  and  kind  seems 
to  be=youthful  nature  or  inclination  (Halliwell). 

61.  Make.  Earn  (Steevens  and  Schmidt).  Cf.  Af.for  M.  iv.  3.  7  :  "  he 
made  five  marks,  ready  money." 

68.  Instrument.  Cf.  Ham.  iii.  3.  380-389  :  "  You  would  play  upon 
me,"  etc. 

70.  Snake.  Often  used  in  this  contemptuous  way  (Malone).  Cf.  Sir 
John  Oldcastle,  1600:  "And  you,  poor  snakes,"  etc.  Halliwell  adds 
many  similar  examples. 

76.  Purlieus.  A  technical  term  for  the  borders  of  a  forest  ;  used  by 
S.  only  here.  Reed  quotes  Manwood,  Treatise  on  the  Forest  Laws,  c.  xx.  : 
"  Purlieu  ...  is  a  certaine  territorie  of  ground  adjoyning  unto  the  forest, 
meared  and  bounded  with  immoveable  marks,  meeres,  and  boundaries." 
Cf.  Milton,  P.  L.  iv.  404:  "  In  some  purlieu  two  gentle  fawns  at  play," 
etc. 

78.  Bottom.  Valley,  dale.  Cf.  I  Hen.  IV.  iii.  i.  105  :  "so  rich  a  bot- 
tom ;"  Milton,  Comus,  532:  "the  hilly  crofts  That  brow  this  bottom- 
glade,"  etc.  So  bottom-grass  in  V.  and  A.  236=  grass  growing  in  a  deep 
valley. 

84.  Description.     Quadrisyllable.     See  on  i.  2.  247  above. 

86.  Favour,     hook,  aspect.     Cf.  ill -favoured,  iii.  5.  53  above,  and  see 

7-  c.  p.  131. 

Besto~ivs  himself.  Deports  or  conducts  himself.  Cf.  A.  John,  iii.  i.  225, 
2  Hen.  IV.  ii.  2.  1 86,  etc. 

87.  Ripe.     Elder,  mature.     Z0w=short  of  stature;  as  in  Much  Ado, 
i.  i.  173,  iii.  i.  65  (where  it  is  opposed  to  "  tall  "),  M.  Ar.  D.  iii.  2.  295-305, 
etc. 

93.  Napkin.  Handkerchief,  as  is  evident  from  97  just  below.  Cf.  L.  C. 
15  :  "Oft  did  she  heave  her  napkin  to  her  cyne  ;"  and  Oth.  iii.  3.  290, 
where  Emilia  says  "  I  am  glad  I  have  found  this  napkin,"  and  immedi- 
ately after  (^506)  to  lago,  "  What  will  you  give  me  now  Eor  that  same 
handkerchief?" 

97.  Handkcrcher.  The  folio  spelling,  indicating  the  pronunciation.  In 
Oth.  the  quarto  has  "  handkercher,"  the  folio  "  handkerchief." 

100.  -•///  Innir.      Hanmer  substituted  '•  two  hours"  (cf.  iv.  I.  160). 

101.  l-'ood.     Commonly  quoted  "end,"  which   St.  rc:uls  ;   but   S.  docs 
not  use  the  word.     Even  the  all-meddlesome  Coll.  MS.  leaves  _/<W  un- 
disturbed. 


ACT  7  V.    SCEXE  III. 


191 


Sweet  ami  bitter  fancy.  Nf  alone  quotes  Lodge's  novel  :  "  Wherein  T 
have  noted  the  variable  disposition  of  fancy,  that  lyke  the  polype  in  col- 
ours, so  it  changcth  into  sundry  humors,  being  as  it  should  seeme,  a  com- 
bat mixt  with  disquiet,  and  a  bitter  pleasure  wrapt  in  a  sweet  prejudice, 
lyke  to  the  svnople  tree,  whose  blossomes  delight  the  smell,  and  whose 
fruit  infects  the  taste." 

102.  Threw  his  eye.  Cf.  A',  of  L.  1499,  M.for  M.  \.  i.  23,  A".  John,  iii.  3. 
59,  etc. 

104.  An  oak.  The  folio  has  "an  old  Oake,"  but  it  is  not  likely  thru 
S.  would  crowd  the  line  with  an  adjective  implied  in  age  and  aiilit/nily. 
It  reminds  us  of  a  line  in  an  ambitious  college  poem  which  read  "  In  the 
old  days  of  ancient  yore." 

108.  Gilded.     Schmidt  notes  that  S.  uses  gilded  twenty  times  and  gilt 
only  six  times. 

109.  Her.     There  is  here  a  confusion  of  genders,  as  in  Kfacb.  iii.  2.  13  : 

"We  have  scotch' d  the  snake,  not  kill'd  it; 
S/ie  '11  close  and  be  lierself.  whilst  our  poor  malice 
Remains  in  danger  of  her  former  tooth." 

There  is  no  clear  case  in  S.  of  her  as  the  possessive  of//.     Cf.  Gr.  228, 
229. 

112.  Indented.  Sinuous,  winding.  Cf.  J'.  and  A.  704:  "Turn  and 
return,  indenting  with  the  way."  Milton,  like  S.,  has  the  word  twice. 
See  Vac.  Ex.  94  : 

"Or  Trent,  who.  like  some  Earth-born  giant,  spreads 
His  thirsiy  arms  along  the  indented  meads, 

and  P.  L.  jx.  496  (of  the  serpent)  : 

"not  with  indented  wave, 
Prone  on  the  ground,  as  since." 

114.  With  udders,  etc.  "And  therefore  fierce  with  hunger "  (Wr.). 
Cf.  Lent;  iii.  i.  12:  "the  cub-drawn  bear."  Steevens  quotes  Arden  of 

fevershatu,  1592  : 

"  the  starven  lioness 
When  she  is  dry-suckt  of  her  eager  young." 

116.  S/u'ii/d.     Sec  Gr.  326  ;  and  for  us  in  1 18  (cf.  12  above)  Gr.  115. 

Douce  quotes  what  ISatman  (upon  Barthsl.  xviii.  65)  says  of  lions: 
"  Also  their  mercie  is  known  by  many  and  oft  ensamples  :  for  they  spare 
them  that  lye  on  the  ground."  See  also  Lodge's  novel,  p.  130  above. 

122.  Render.  Describe,  report.  Cf.  2  Hen.  II'.  i.  i.  27:  "rendered 
me  these  news  for  true;"  Hen.  V.  i.  I.  44  :  "A  fearful  battle  rcndcr'd 
you  in  music,"  etc. 

125.  To.     With  regard  to.     Cf.  T.  »fS.  ii.  I.  334,  A.  U'.  iv.  3.  276,  etc. 

131.  Hurtling.  Din  of  conflict.  Cf.  J.  C.  ii.  2.  22  :  "The  noise  of 
battle  hurtled  in  the  air  ;"  Spenser,  /•'.  Q.  i.  4.  40  :  "Therewith  they  gau 
to  hurtlen  greedily;"  Id.  i.  8.  17:  "Came  hurtling  in  full  tiers,  and  forst 
the  knight  retyre  ;"  Gray,  I~\it<tl  Sisters  : 

"Iron  .-led   of  arripwy  shower 

II  miles  in   the.   ci.irk'en'd  air."  etc. 

134.  Contrive.  1'lot.  See  on  i.  I.  131  above;  and  cf.  M.  X.  7).  iii.  2. 
196,  etc. 


192 


NOTES. 


135.  Do  not  shame.  Am  not  ashamed.  Cf.  C.  of  E.  v.  i.  322  :  "  Thou 
sham'st  to  acknowledge  me  in  misery  ;"  Macb.  ii.  2.  64  : 

"  My  hands  are  of  your  colour,  but  I  shame 
To  wear  a  heart  so  white  ;'? 

and  Spenser,  F.  Q.  ii.  12.  23  : 

"  Most  ugly  shapes  and  liorrible  aspects, 
Such  as  Dame  Nature  selte  mote  feare  to  see, 
Or  shame  that  ever  should  so  fowle  defects 
From  her  most  cunning  hand  escnped  bee." 

138.  fl»:  As  regards.  Cf.  v.  4.  64:  "But,  for  the  seventh  cause,' 
etc. 

By  and  by.  Presently,  soon.  Cf.  Hen.  V.  ii.  2.  2,  and  see  note  in  our 
ed.  p.  155. 

140.  Reconntments.     Relations,  narratives  ;  used  by  S.  only  here. 

141.  As.     As  for  instance.     Cf.  ii.  I.  6  above. 

149.  In  fainting.     See  Gr.  161. 

150.  Brief.     "In  brief"  (142  above).     Cf.  A'.  John,  \.  6.  iS  and  /*<*•"• 
iii.  prol.  39.     Recoi<er\{=  restored  ;  as  in  Temp.  ii.  2.  71,  79,  97,  \V.  T.  iv. 
4.  815,  etc. 

151.  Being  strong  at  heart.     "Having  now  recovered  from  his  faint" 
(M.). 

155.  His.  The  reading  of  the  later  folios;  the  1st  has  "this,"  which 
some  eds.  retain. 

159.  Cousin  Ganymede.  Ilalliwell  prints  "Cousin — Ganymede!"  fol- 
lowing Johnson,  who  says  :  "Celia,  in  her  first  fright,  forgets  Rosalind's 
character  and  disguise,  and  calls  out  cousin,  then  recollects  herself,  and 
says,  Ganymede."  But  cousin  is  probably  used  loosely,  as  explained  on 
i.  3.  40  above. 

165.  Ah,  sirrah.  "On  recovering  herself,  Rosalind  immediately  re- 
sumes her  boyish  sauciness,  and  a  little  overdoes  it"  (\V.).  Schmidt 
explains  it  thus:  "Sometimes  forming  part  of  a  soliloquy  and  addressed 
to  an  imaginary  person,  or  rather  to  the  speaker  himself  (always  pre- 
ceded by  <///)."  Cf.  2  //<•//.  //'.  v.  3.  17  and  A',  and  J.  i.  5.  31,  128.  Pope 
changed  sirrah  to  "  sir."  See  Macb.  p.  236,  note  on  sirrah. 

M.,  who  prints  "sirra,"  remarks:  "A  similar  form  seems  still  in  use- 
in  America  (without  any  notion  of  upbraiding)."  He  apparently  refers 
to  the  vulgar  "sirree,"  which  is  of  very  recent  origin  and  of  coiuse  has 
no  connection  with  sirrah. 

A  body.  As  Ilalliwell  notes,  the  term  was  formerly  used  in  this  way 
in  serious  composition.  Cf.  M.  for  M.  iv.  4.  25,  etc.  \Vr.  quotes  Psalm 
liii.  i  (Prayer- Hook  version)  :  "  The  foolish  body  hath  said  in  his  heart." 

169.  Of  earnest.     In  earnest.     Cf.  i.  2.  23,  i.  3.  26,  and  iv.  i.  171  above. 

171.  7'ii/ce  a  good  heart.  S.  does  not  elsewhere  use  the  article  in  this 
and  similar  phrases.  Cf.  A.  and  C.  v.  i.  56  :  "  Bid  her  have  good  heart  ;" 
J.  C.  iv.  3.  288  :  "  I  have  taken  heart,"  etc. 

175.  ])ra~i.<  homewards.  Come  home.  We  still  use  dra~i<  near,  \y\\ 
not  come  in,  enter,  as  in  Temp.  v.  i.  318,  //.  Ii'.  iii.  2.  101,  and  71  of  A. 
ii.  2.  46. 


ACT  K     SCENES  I.  AND  II. 


ACT  V. 

SCENE  I.  —  10.  //  is  meat  and  drink  to  me.  A  common  proverbial  ex- 
pression. Cf.  M.  IV.  i.  I.  306:  "That's  meat  and  drink  to  me,  now." 
Hallivvell  gives  many  examples  from  other  writers  of  that  day. 

1  1.  We  shall  be  flouting.  "  We  must  have  our  joke  "  (Wr.;.  For  shall, 
cf.  i.  I.  118  above  ;  and  \o\  flouting,  iii.  3.  94. 

14.  God  ye  good  even.  That  is,  God  give  you  good  even.  Cf.  K.  and  y. 
\.  2.  58  :  "  God  gi'  good-den  "  ("  Godgigoden  "  in  the  folio),  and  Hen.  V. 
iii.  2.  89  :  "  God-den,"  etc. 

47.  Female.  Touchstone,  like  many  of  his  kindred  now,  prefers  fe* 
male  to  the  "  common  "  woman.  See  M.  A'.  D.  p.  171,  note  on  Females. 

53.  Bandy.  Contend,  strive.  Cf.  T.  A.  \.  i.  312  :  "fit  to  bandy  with 
thy  lawless  sons."  See  also  K.andJ.  iii.  I.  92  and  I  Hen.l'I.  iv.  I.  190. 

57.  God  rest  you  merry.     God  keep  you  merry.     Cf.  K.  and  J.  i.  2.  65  : 
"rest  you  merry  !"     For  similar  forms,  see  M.  of  V.  i.  3.  60,  M.for  M. 
jv.  3.  1  86,  A.  and  C.  i.  i.  62,  etc. 

58.  Seeks.     See  Gr.  336. 

SCENE  II.  —  I.  Is  't  possible,  etc.  As  Steevens  remarks,  the  poet  seems 
to  be  aware  that,  in  varying  from  the  novel  here  (see  p.  131,  foot-note), 
he  makes  the  passion  of  Celia  appear  rather  hasty. 

3.  J'erse^'er.  The  word  was  so  spelt  in  the  time  of  S.  and  accented  on 
the  penult.  Cf.  A.  W.  iv.  2.  36,  37,  and  see  M.  A'.  D.  p.  166.  On  wooing, 
see  Gr.  378. 

6.  Of  her.     Cf.  Hen.  I',  ii.  4.  50  :  "The  kindred  of  him,"  etc.     Gr.  225. 

7.  Her  sudden.     The  her  is  not  in  the  folio  ;  added  by  Rowe. 

1  1.  Estate.  Cf.  Tun  A  iv.  I.  85,  etc.  \Ve  find  "  estate  unto"  in  3f.  A'.  D. 
i.  1.98. 

14.  And  all  's  contented  followers.  M.  remarks  that  this  seems  to  mean 
"all  his  followers  who  will  be  kind  enough  to  favour  us." 

17.  And  you,  fair  sister.  Johnson  would  read  "  your  fair  sister  ;"  but. 
as  Chamier  suggested,  Oliver  addresses  her  in  her  assumed  character 
of  a  woman  courted  by  Orlando.  W.  thinks  that  Oliver  knows  Rosa- 
lind's sex,  having  been  informed  of  it  by  Celia,  whom  he  has  wooed  and 
won  since  the  end  of  the  last  act  ;  "for  to  suppose  that  she  kept  Rosa- 
lind's secret  from  him  one  moment  longer  than  was  necessary  to  give 
her  own  due  precedence  would  be  to  exhibit  an  ignorance  in  such  mat- 
ters quite  deplorable."  Let  the  reader  judge. 

25.  Handkereher.     See  on  iv.  3.  97  above. 

26.  And  greater  wonders,  etc.    Gcrvinus  thinks  that  Oliver  discovered 
the  sex  of  Rosalind  by  her  fainting,  and  told  Orlando  of  it  ;  but  we  can- 
not agree  with  him. 

28.  /  kiiffii.'  where  von  are.  That  is,  what  you  hint  at,  what  you  mean. 
Cf.  Lear.  iv.  6.  148  :  "  (),  ho,  are  you  there  witli  me  ?" 

30.  Thrasonical,  liuastful  ;  from  Thraso,  the  bragging  soldier  in  the 
Knnuchui  of  Terence.  It  is  not  necessary  to  suppose  that  S.  had  read 
Terence,  for  the  word  wa>  already  in  use.  Halliweli  quotes  several  ear- 
lier instances  oi  it  ;  as  Orlando  Furii>so,  1594  :  "  a  Thrasonical  mad  cap,' 


*94 


NOTES. 


etc.     S.  uses  it  again  in  L.  L.  L.  v.  i.  14.     For  the  reference  to  Caesar, 
cf.  Cymb.  iii.  I.  24. 

36.  Incontinent.     Immediately.     Cf.  Rich.  II.  v.  6.  48  :  "  put  on  sullen 
black  incontinent,"  etc. 

37.  IVnith.     Passion,  ardour. 

38.  Clubs.     "Clubs  !"  was  the  rallying  cry  of  the  London  apprentices, 
who  used  their  clubs  to  put  an  end  to  a  public  disturbance,  or  sometimes 
(cf.  //en.  I'll  I.  v.  4.  53)  merely  to  join  in  one.     See  R.  and  J.  \.  \.  So. 
Malone  aptly  quotes  '/'.  A.  ii.  I.  37  :  "  Clubs,  clubs  !  these  lovers  will  not 
keep  the  peace." 

40.  Nuptial.     S.  uses  the  singular  except  in  Per.  v.  3.  80.     In  Oth.  ii. 
2.  8  the  quartos  have  the  plural.     See  Temp,  p.  143,  note  on  7 'he  nuptial ; 
and  cf.  J.  C.  p.  183,  note  on  His  funerals. 

41.  By  so  much  .  .  .  by  ho~u>  much,  etc.     Cf.  for  the  same  arrangement 
of  clauses,  Kich.  III.  ii.  2.  126  : 

"  Which  would  be  so  much  the  more  dangerous, 

By  how  much  the  estate  is  green  and  yet  migovern'd ;" 

for  the  inverse  order,  A".  John,  ii.  I.  80  and  I  Hen.  II'.  \.  2.  234.     Sec 
also  iii.  3.  55  above. 

50.  Of  good  conceit.     Of  good  intellect.     Schmidt  thinks  it  may  mean 
"birth,"  since  it  would  need  no  magician  to  sec  that  he  was  a  man  of 
good  mental  capacity.     For  conceit  in  this  latter  sense,  cf.  M.  of  V.  i.  i. 
92  :  "  wisdom,  gravity,  profound  conceit ;"  2  Hen.  IV.  ii.  4.  263  :  "  there  's 
no  more  conceit  in  him  than  is  in  a  mallet,"  etc. 

51.  fnsomuch.     Seing  that,  since  ;  used  by  S.  nowhere  else. 

54.  Grace  me.  (lain  me  credit.  Cf.  Hen.  V.  iii.  6.  71  :  "goes  to  the 
wars,  to  grace  himself  on  his  return,"  etc.  See  also  i.  i.  135  above. 

56.  Three  year.     See  on  iii.  2.  298  above. 

Conversed.  Been  acquainted  or  associated  with.  Cf.  T.  G.  of  ]'.  ii.  4. 
63,  Rich.  II f.  iv.  2.  28,  etc. 

57.  Not  damnable.     Not  deserving  the  penalty  usually  meted  out  to 
his  craft.     By  an  act  of  the  time  of  Elizabeth,  death  without  benefit  of 
clergy  was  the  punishment  for  the  practice  of  witchcraft  whereby  death 
ensued  ;  imprisonment  and  the  pillory  for  minor  forms  of  the  crime.    An 
act  of  James  I.  repealing  this  made  death  the  penalty  for  invoking  evil 
spirits  or  practising  witchcraft  at  all. 

58.  Gesture.     Bearing,  behaviour.     Cf.  Oth.  iv.  I.  88:   "mark  his  gest- 
ure ;"  Id.  iv.  i.  142  :  "  his  gesture  imports  it,''  etc.     For  it  in  cries  it  out, 
see  on  i.  3.  120  above. 

61.  Inconvenient.     Disagreeable;  used  by  S.  only  here. 

62.  Human  as  she  is,  etc.     "That  is,  not  a  phantom,  but  the  real  Ros- 
alind, without  any  of  the  clanger  generally  conceived  to  attend  the  rites 
of  incantation  "  ( Johnson). 

65.  Tender  dearlv.  Hold  dear,  value  highly  (though  I  risk  it  by  con- 
fessing myself  a  magician).  Cf.  R.audJ.  iii.  I.  74:  "which  name  I  ten- 
der As  clearly  as  my  own;"  Ham.  i.  3.  107:  "Tender  yourselt  more 
dearly,"  etc.  For  the  reflexive  use  of  you  in  next  line,  see  Or.  223. 

69.  /.i'7'tv.      For  the  feminine  use,  see  on  iii.  4.  39  above. 

70.  Ungentlcness.     L'nkinclncss  ;  used  nowhere  else  by  S. 


ACT  V.     SCENE  III. 


'95 


75.  Him.     The  word  is  emphatic,  as  the  measure  shows.     Gr.  483. 

87.  Fantasy.     See  on  ii.  4.  27  above. 

89.  Duty  and  observance.  Respect  and  homage.  Cf.  M.W.  ii.  2.  203: 
"followed  her  with  a  doting  observance," etc 

In  line  91  the  folio  repeats  "observance,"  which  is  obviously  an  error. 
Coll.  (following  his  MS.),  D.,  and  \V.  substitute  "  obedience  "  in  87  ;  but 
we  prefer  to  put  it,  as  Malone  does,  in  89.  It  is  urged  in  favour  of  the 
former  arrangement  that  "obedience"  goes  better  with  "adoration  and 
duty"  than  with  "purity  and  trial;"  but  the  same  may  be  said  of  "ob- 
servance." On  the  other  hand,  when  we  find  a  word  repeated  in  this 
way,  it  is  probably  an  accidental  repetition  in  setting  the  type,  the  com- 
positor having  his  eye  or  his  thoughts  on  the  word  he  has  just  set. 

Other  emendations  proposed  in  89  are  "  obeisance  "  (which  S.  uses 
only  in  T.  of  S.  ind.  i.  108 :  "do  him  obeisance"),  "endurance"  (which 
he  has  three  times  in  the  sense  of  suffering,  or  sufferance),  "dcservance  " 
(which  he  does  not  use  at  all),  "perseverance"  (as  it  is  accented  by  S.), 
and  "devotion."  The  last  two  are  plausible,  but  no  more  so  than  "obe- 
dience," which  the  poet  uses  oftener  than  either. 

96.  To  lixY.     For  the  infinitive,  see  Gr.  356. 

99.  Why,  etc.  Some  editors  adopt  Howe's  "Who  do  you  speak  to," 
etc.  ;  but  no  change  is  really  called  for.  Speak=&yy\  as  in  2  /fen.  JV, 
iv.  2.  16,  Macb.  iv.  3.  154,  etc.  Orlando's  reply  is  =  Because  I  speak  to 
her,  etc. 

101.  Nor  doth  not.     See  on  ii.  3.  50  above,  and  cf.  v.  4.  82  below.     Gr. 
408. 

102.  Like  the  hireling,  etc.     Cf.  Af.  N.  D.  v.  i.  379  :  "  And  the  wolf  be- 
howls  the  moon."    See  also  jf.  C.  iv.  3.  27.    In  Lodge's  novel  we  find  the 
expression,  "  thou  barkest  with  the  wolves  of  Syria  against  the  nioone." 
There  were  wolves  in  Ireland  down  to  the  beginning  of  the  eighteenth 
century. 

SCE.NK  III. — 4.  Dishonest.  Immodest.  Cf.  Hen.  lr.  i.  2.  49  :  "dishon- 
est manners,"  etc.  See  also  honest  in  i.  2.  34  and  iii.  3.  22  above. 

To  be  a  woman  of  the  world.  That  is,  a  married  woman.  Cf.  Afuch 
Ado,  ii.  i.  331  :  "Thus  goes  every  one  to  the  world  but  I,  and  I  am  sun- 
burnt :  I  may  sit  in  a  corner  and  cry  heigh-ho  for  a  husband !"  A.  II7.  i.  3. 
20:  "  If  I  may  have  your  ladyship's  good  will  to  go  to  the  world,  Isbel 
the  woman  and  I  will  do  as  we  may." 

7.  By  my  troth.     See  on  i.  2.  79  above. 

10.  Clap  into't  roundly.  Set  about  it  at  once.  Cf.  Af.  for  Af.  iv.  3. 
43  :  "  I  would  desire  you  to  clap  into  your  prayers  ;  for,  look  you,  the 
warrant  's  come."  See  also  Afnch  Ado,  iii.  4.  44.  Fur  ronndlv--  at  once, 
without  ceremony,  cf.  T.  of  S.  i.  2.  59,  Rich.  //.  ii.  I.  122,  etc.  ;  and  note 
the  use  of  ;w/W-  blunt,  unceremonious,  in  T.  A .  ii.  3.  102,  lien.  I',  iv.  I. 
216,  etc. 

12.  The  only  prologues.  Only  the  prologues.  Cf.  i.  2.  173  above. 
Capell  conjectured  "only  the,"  anil  \V.  reads  "your  only."  \Vr.  quotes 
a  parallel  instance  from  Sidney,  A ri -adia :  "Gynecia,  who  with  the  oncly 
bi  uze  of  the  fall,  had  her  shoulder  put  out  of  ioynct." 


196  NOTES. 

13.  A  time.     One  tune.     See  Gr.  81. 

15.  In  the  folio  the  last  stanza  is  made  the  second.     The  arrangement 
here  given  is  found  in  the  earliest  copy  of  the  song  with  musical  notes, 
printed  in  Morlcy's  first  Jlook  of  A yres,  or  little  short  Songs  to  sing  an<l 
flay  to  the  Lute,  1600;  also  in  a  MS.  copy  made  certainly  before  1639, 
ana  preserved  in  the  Advocates'  Library  at  Edinburgh. 

16.  With  a  hey,  etc.     In  the  preface  to  his  Ghostly  I'saltus  (quoted  by 
Wr.)  Coverdale  refers  to  these  meaningless  burdens  of  songs:  "And  if 
women,  sitting  at  their  rocks,  or  spinning  at  the  wheels,  had  none  other 
songs  to  pass  their  time  withal,  than  such  as  Moses'  sister,  Glehana's 
[Elkanah's]  wife,  Debora,  and  Mary  the  mother  of  Christ,  have  sung  be- 
fore them,  they  should  be  better  occupied  than  with  hey  notty  nony,  hey 
troly  My,  and  such  like  phantasies." 

18.  King  lime.  The  reading  of  the  Edinburgh  MS.  ;  the  folio  has 
"  rang  time."  Schmidt  explains  it  as  "  time  of  exchanging  rings,  of 
making  love  ;"  others,  time  for  marriage. 

21.  Acres.     Fields  ;  as  in  Temp,  iv.  I.  Si,  I  Hen.  II'.  \.  I.  25,  etc. 

33.  Mutter.     Sense.     Cf.  ii.  I.  68  above. 

34.  Untitneable.     Inharmonious,  discordant  (Schmidt).     Cf.  T.G.o/lr. 
iii.  I.  208  :  "  harsh,  untuneable,  and  bad."    See  also  tuneable  in  A/.  Ar.  D. 
i.   i.  184  and  iv.  i.  129.     Theo.  substituted  "untimeable"  (a  word  not 
found  in  S.),  which  \V.  adopts.     Schmidt  remarks  that  it  is  "more  logi- 
cal indeed,  but  not  to  the  improvement  of  the  jest."     dititneable  agrees 
better  with  what  Touchstone  afterwards  says,  "  Ciocl  mend  your  voices  !" 
The  page  mistakes  the  point  of  the  criticism,  perhaps  intentionally. 

SCENK  IV. — 4.  As  those  thai  fear,  etc.  That  is,  whose  hopes  are  min- 
gled with  fear,  and  only  their  fears  certain.  That  this  is  the  general 
meaning  is  evident  from  the  preceding  line.  No  less  than  twelve  "emen- 
dations" are  noted  in  the  Camb.  ed.  Delius  adopts  Henley's,  which 
merely  changes  the  pointing  :  "  As  those  that  fear  ;  they  hope,  and  know 
they  fear."  This  is  bad  enough,  but  most  of  the  dozen  arc  worse.  As 
"a  similar  jingle  "  Halliwell  quotes  J/.  for  M.  v.  I.  203: 

"Who  thinks  lie  knows  that  he  ne'er  knew  my  body, 
lint  knows,  he  thinks,  that  lie  knows   Isabel's. 

5.  Whiles.  Sec  on  ii.  7.  128.  Compact  is  accented  by  S.  on  the  last 
syllable  except  in  i  lien.  VI.  \.  4.  163.  Cf.  Gr.  490. 

18.  Make  all  this  matter  eren.  ( )r,  as  we  now  say,  "  make  it  all  straight." 
So,  just  below,  make  these  doubts  all  <7r//  =  reconcile  them,  clear  them  up. 
Stcevens  quotes  Al.j'or  J/.  iii.  i.  41  : 

"  Yet  deal]]  we  fear. 
That  makes  these  odds  all  even.'' 

Iii  A.ll'.  ii.  i.  194,  "will  you  make  it  even?"-  will  you  make  it  good? 

22.  To  Ti'iv/.     For  the  infinitive,  see  Gr.  416. 

27.  l.irely.  Lifelike.  \Vr.  quotes  /'.  of  A.  i.  I.  38:  "Livelier  than 
life."  For  /ln'inir,  see  on  i.  2.  35  above. 

32.  Desperate.     "  Forbidden  by  law"  (Schmidt). 

34.  Obtenred.  Hidden  ;  as  in  i.  I.  63  above.  Cf.  M.for  M.  v.  1.395  : 
"why  I  obscured  my>clf,"etc. 


ACT  T.     SCENE  IV.  I97 

35.  Toward.  At  hand,  coming.  Cf.  M.  N.  D.  iii.  I.  83  :  "a  play 
toward;"  T.  of  S.  v.  i.  14:  "some  cheer  is  toward,"  etc.  Towards  is 
used  once  in  the  same  sense,  in  A',  and  J.  i.  5.  124. 

39.  Good  my  lord.     See  on  i.  2.  I  above. 

42.  Put  me  fo  my  purgation.     Challenge  me  to  prove  it.     Purgation 
properly  =--  exculpation  ;  as  in  i.  3.  51  above.     Cf.  W.  T.  iii.  2.  7  :  "the 
guilt  or  the  purgation,"  etc. 

43.  A  measure.     A  formal  court  dance.     Cf.  Much  Ado,  ii.  i.  80  :  "a 
measure,  full  of  state  and  ancientry."     See  also  Rich.  II.  i.  3.  291,  etc. 

45.  And  like.  And  had  like,  or  was  likely.  Cf.  Much  Ado,  v.  i.  115  .- 
"  We  had  like  to  have  had  our  two  noses  snapped  off;"  W.  T.  iv.  4.  750  : 
"  Your  worship  had  like  to  have  given  us  one,"  etc.  Schmidt  makes 
like  a  noun  here.  Cf.  had  as  lief  (i.  I.  133)  and  like  —  likely  (i.  2.  15). 
Like  is  still  vulgarly  used  in  this  way,  at  least  in  New  England. 

47.  Tii1  en  tip.  Made  up.  Cf.  T.  N.  iii.  4.  320  :  "I  have  his  horse  to 
take  up  the  quarrel,"  etc. 

53.  God  ''ield  you.     See  on  iii.  3.  66  above.     On  I  desire  you  of  the  like, 
cf.  J7.  N.  D.  iii.  I.  185  :  "  I  shall  desire  you  of  more  acquaintance,"  and 
see  note  in  our  ed.  p.  160. 

54.  Copulatives.     Candidates  for  marriage. 

56.  Blood.     Passion.     Cf.  Much  Ado,  ii.  i.  187  : 
"for  beauty  is  a  witch 
Against  whose  charms  faith  melteth  into  blood  ;" 

and  Id.  ii.  3.  170  :  *'O  my  lord,  wisdom  and  blood  combating  in  so  tender 
a  body,  we  have  ten  proofs  to  one  that  blood  hath  the  victory." 
JU -favoured.     Cf.  iii.  5.  53  above,  and  see  on  i.  2.  35. 

58.  Honesty.     See  on  v.  3.  4  above. 

59.  Your.     See  on  iii.  4.  II  above. 

60.  Swiff.     Ready,  quick.     Cf.  iii.  2.  260:  "a  nimble  wit."     Se-nten- 
//OT/j  =  "full  of  pithy  sayings"  (Wr.)     Cf.  /,.  /-.  /-.  v.  I.  3. 

62.  The  fooPs  bolt.     Cf.  I  fin.  I',  iii.  7.  132  :  "  A  fool's  bolt  is  soon  shot." 
A  bolt  was  a  blunt-headed  arrow. 

63.  Such  dulcet  diseases.     Schmidt  explains  this  as  "sweet  mortifica- 
tions."    Walker  considers  it  a  continuation  of  what  Touchstone  has  just 
said  of  "  your  pearl  in  your  foul  (diseased)  oyster/'    Attempts  have  been 
made  to  mend  the  fool's  talk  by  changing  diseases  to  "discourses,"  "dis- 
cords," or  "  phrases." 

67.  Seeming.  Seemingly,  becomingly.  Cr.  i.  For  as,  see  Gr.  113, 
»nd  cf.  ii.  1.6  above. 

On  dislike,  Warb.  quotes  ]>.  and  F.,  Queen  of  Corinth,  iv.  i  : 

"  Has  he  familiarly 

Dislik'd  your  yellow  starch,  or  said  your  doublet 
Was  not  exactly  frenchitied?  or  that,  that  report 
In   i.iir  terms  was  untrue?  i>r  diawn  your  sword. 
Cried  't  was  ill-mounted?    has  he  i;i\en   the   lie 
In  circle,  or  oblique,  or  semi-circle, 
Or  direct   parallel?  you  must  challenge  him." 

72.  (>////.  A  sharp  jest,  or  sarcasm  ;  or,  as  l.yly  defines  it  in  his  Cam- 
paspe,  "a  short  saying  of  a  sharp  wit,  with  a  hitter  sense  in  a  sweet 
word."  Cf.  T.  G.  of  I'  iv.  2.  12,  .)/.  \V.  i.  3.  45,  Much  Ado,  ii.  3.  249,  etc. 


198  KOTES. 

See  also  Milton,  UAH.  27  :  "  Quips  and  cranks  and  wanton  wiles  ;"  Spen- 
ser, Mother  Hubberds  Title,  709  :  "  And  with  sharp  quips  joy'd  others  to 
deface,"  etc  Spenser  has  it  as  a  verb  (=jeer,  taunt)  in  F.  Q.  vi.  7.  44: 
"The  more  he  laughes,  and  does  her  closely  quip." 

73.  Disabled.     Disparaged.     See  on  iv.  1.31  above. 

77.  Lied.     Capell's  correction  of  the  "  lie  "  of  the  folio. 

Countercheck.  Check  ;  as  in  chess.  S.  uses  the  word  again  in  K.  John, 
\\.  I.  224 :  "  A  countercheck  before  your  gates." 

84.  Can  you  tiotnhtate,  etc.  "  Did  you  invent  all  this  on  the  spur  of  the 
moment,  or  was  it  really  a  quotation  such  as  you  can  repeat  over  again  ?" 

(M.). 

86.  By  the  book.     As  Warb.  notes,  S.  doubtless  refers  here  to  a  book 
by  Vincentio  Saviolo,  printed  in  1594.    It  is  entitled  "  Vincentio  Saviolo 
his  Practise.     In  two  Hookes.     The  first  intreating  of  the  vse  of  the 
Rapier  and  Dagger.      The  second,  of  Honor  and  honorable  Quarrels." 
The  second  book  contains  "A  Discourse  most  necessarie  for  all  Gentle- 
men that  haue  in  regarde  their  honors  touching  the  gining  and  receiuing 
of  the  Lie,  wherevpon  the  Duello  &  the  Combats  in  diuers  sortes  doth 
insue,  &  many  other  inconueniencies,  for  lack  only  of  the  true  knowledge 
of  honor,  and  the  contrarie  :  &  the  right  vnderstanding  of  wordes,  which 
heere  is  plainly  set  downe,  beginning  thus."    The  subject  is  treated  under 
the  following  heads:   "Of  "he  manner  and  diuersitie  of  Lies;"  "Of 
Lies  certaine ;''  "  Of  conditional!   Lyes  ;"    "  Of  the  Lye  in  general!  ;" 
"Of  the  Lye  in  particular;"  "Of  foolish  Lyes."    The  chapter  "  Of  con- 
ditionall  Lyes,"  which  seems  to  correspond  to  Touchstone's  "  Lie  cir- 
cumstantial," begins   thus  :    "  Conditional!  lyes  be  such  as  are  giuen 
conditionally  :  as  if  a  man  should  saie  or  write  these  woordes.     If  thou 
hast  saide  that  I  haue  offered  my  Lord  abuse,  thou  lyest :  or  if  thou  saiest 
so  heerafter,  thou  shall  lye.     And  as  often  as  thou  hast  or  shall  so  say, 
so  oft  do  I  and  will  I  say  that  thou  doest  lye.     Of  these  kinde  of  lyes 
giuen  in  this  manner,  often  arise  much  contention  in  words,  and  diuers 
intricate  worthy  battailes,  multiplying  wordes  vpon  wordes  whereof  no 
sure  conclusion  can  arise."    The  author  warns  his  readers  "  by  all  mcanes 
possible  to  shunne  all  conditionall  lyes,  neuer  geuing  anie  other  but  cer- 
tayne  Lyes  :  the  which  in  like  manner  they  ought  to  haue  great  regarde, 
that  they  giue  them  not,  vnless  they  be  by  ?ome  sure  means  infallibly 
assured,  that  they  giue  them  rightly,  to  the  ende  that  the  parties  vnto 
whome  they  be  giuen,  may  be  forced  without  further  Ifs  and  Ands,  either 
to  deny  or  iustirie,  that  which  they  haue  spoken." 

87.  Books  for  good  manners.    There  were  many  such  in  the  time  of  S., 
and  indeed  at  a  much  earlier  date.    Halliwcll  mentions  one  published  by 
\Vynkyn  cle  Worde  in  1507,  the  colophon  of  which  reads  :  "  Here  endeth 
and  fynysshecl  the  boke  named  and  Intytlcd  good  mancrs.     Kmprynted 
at  London  in  y-  Flete  Strcte  at  the  sygne  of  the  Sonne  by  Wynken  de 
Worde.     In  y  yere  of  our  Lordc,  M.  recce,  and  vii.     The  x.  daye  of 
December,"  etc.     There  was  an  earlier  edition  printed  by  I'ynson  in 
1494,  stated  to  be  "  finyshed  and  translated  out  of  Frenshc  into  Englissh 
the  viij.  day  of  June  in  the  yere  of  oure  Lorde  1486."     Pynson  also  print- 
ed another  book  entitled  "  the  myrrour  of  good  mancrs,"  etc.,  translated 


ACT  V.    SCENE  IV.  199 

from  the  Latin  by  Alexander  Bercley,  "  prest  and  monkc  of  Elv."  The 
work  which  S.  may  have  had  immediately  in  mind  was  "  A  lytle  Booke  of 
Good  Maners  for  Chyldren  with  interpritation  into  the  vulgare  Englysshe 
tongue  by  K.  Whittinton,  Poet  l^aureat,"  printed  at  London  in  1554. 
Overbury,  in  his  Characters,  1626,  says:  "A  fine  gentleman  is  the  cyn- 
namon  tree,  whose  barke  is  more  worth  than  his  body.  I  lee  hath  reade 
the  Booke  of  Good  Manners,  and  by  this  time  each  of  his  limbs  may  read 
it."  Osric's  "card  or  calendar  of  gentry"  (Ham.  v.  2.  114),  ascribed  by 
Wr.  to  Hamlet,  may  allude  to  the  title  of  some  such  book. 

97.  Stuore  brothers.  Like  thefratresjurati,  who  took  an  oath  to  share 
each  other's  fortunes.  Cf.  Rich.  II.  v.  i.  20,  and  see  note  in  our  ed.  p.  208. 
See  also  Much  Ado,  i.  I.  73,  i  Hen.  IV.  ii.  4.  7,  and  2  Hen.  IV.  iii.  2.  345. 

101.  A  stalking-horse.     A  horse,  or  the  figure  of  one,  behind  which 
sportsmen  approached  their  game.     Cf.  Much  Ado,  ii.  3.  95  :  "  Stalk  on, 
stalk  on;  the  fowl  sits."     Steevens  quotes  Drayton,  I'olyolbion :  "One 
underneath  his  horse  to  get  a  shoot  doth  stalk  ;"  and  Nares  cites  The 
Malcontent:  "A  fellow  that  makes  religion  his  stalking-horse." 

102.  Presentation.    Semblance  ;  used  by  S.  only  here  and  in  Rich.  III. 
iv.  4.  84  :  "The  presentation  of  but  what  I  was." 

105.  Still  music.  Soft  music.  The  folio  has  the  stage-direction  "  Mu- 
stek still"  in  M.  N.  D.  iv.  i.  80.  Cf.  "stilly  sounds  "  in  Hen.  V.  iv.  prol.  5, 
and  see  note  in  our  ed.  p.  171. 

105.  Atone  together.  Are  at  one,  or  agree  together.  Cf.  Cor.  iv.  6.  72  : 
"Me  and  Aufidius  can  no  more  atone,"  etc.  It  is  used  transitively  (  = 
make  at  one,  reconcile)  in  Rich.  II.  i.  i.  202  and  Otlt.  iv.  i.  244. 

109.  Her  hand.  The  ist  and  2cl  folios  have  "his  hand  ;"  and  in  the 
next  line  all  the  folios  have  "  his  bosom,"  which  \Vr.  retains.  Halliwell 
follows  Caldecott  in  retaining  "his"  in  both  cases,  on  the  ground  that 
Rosalind  is  still  in  masculine  dress.  On  no  cf.  L.  L.  L.  v.  2.  826: 
"  I  lence  ever  then  my  heart  is  in  thy  breast ;"  Rich.  III.  i.  2.  205  :  "  Even 
so  thy  breast  cncloseth  my  poor  heart ;"  and  V.  and  A.  582  : 

"  her  heart, 

The  which,  by  Cupid's  bow  she  doth  protest, 
He  carries  ihence  incaged  in  his  breast." 

125.  If  truth  holds  trite  contents.  "  If  truth  contains  truth,  if  the  pos- 
session of  truth  be  not  imposture"  (Caldecott). 

126-131.  The  reader  will  have  no  difficulty  in  distributing  these  lines 
among  the  four  couples. 

128.  Accord.  Agree,  consent.  Cf.  T.  G.  of  V.  i.  3.  90,  Hen.  V.  ii.  2.  86, 
etc. 

130.  Sure.     "Indissolubly  united"  (Schmidt).     Cf.  M.  IV.  v.  5.  237  : 

'•The  truth  is,  she  and  I,  long  since  contracted, 
Are  now  so  sure  that  nothing  can  dissolve  us." 

134.  Thai  reason,  etc.     "  That  the  facts  when  stated  may  diminish 
wonder"  (M.). 

135.  Finish.     Intransitive  ;  as  in  i  //<//.  /'/.  iii.  i.  201  ;  "  His  days  may 
finish  ere  that  hapless  time." 

136.  ll'e,{,/ing  is  great  Juno's  crcncn,  etc.     \V.  remarks  :    "  Both   the 
ihought  and  the  form  of  the  thought  in  this  Song  S'.em  to  me  as  unlike 


200  NOTES. 

Shakespeare's  as  they  could  well  be,  and  no  less  unworthy  of  his  genius  ; 
and  for  the  same  reasons  I  think  it  not  improbable  that  the  whole  of 
Hymen's  part  is  from  another  pen  than  his."  \Ve  are  inclined  to  agree 
with  him;  and  it  may  be  noted  also  that  lines  120-141  make  an  awk- 
ward break  in  the  dialogue,  which  would  run  along  very  naturally  with- 
out them. 

139.  High  wedlock,  etc.  That  is,  let  it  be  highly  honoured,  as  the  next 
line  shows. 

143.  Theo.  and  some  modern  editors  read  "daughter-welcome." 
145.  Fancy.     Love.     See  on  iii.  2.  339  above.     Combine—  bind  ;  as  in 
Jlf./or  M.  iv.  3.  149  (quoted  by  Steevens) :  "  I  am  combined  by  a  sacred 
vow." 

151.  Addressed.    Prepared.    Cf.  Hen.  /'.  iii.  3.  58:  "  To-morrow  for  the 
march  are  we  addrcss'd."     See  also  J.  C.  p.  156. 

P0wfr=a.Tmy,  S.  uses  both  the  singular  and  the  plural  in  this  sense, 
as  we  An  force  and  forces.  Cf.  J.  C.  iv.  3.  169  :  "  with  a  mighty  power  ;" 
and  Id.  iv.  3.  308  :  "  Hid  him  set  on  his  powers,"  etc. 

152.  In  Ins  mint  conduct.     Led  by  himself.     Cf.  A~.  John,  iv.  2.  129: 
"Under  whose  conduct  came  those  powers  of  France?"  Cymb.  iv.  2. 
340  :  "  Under  the  conduct  of  bold  lachimo,"  etc. 

155.  Religious.     See  on  iii.  2.  322  above. 

156.  Question.     See  on  iii.  4.  32  above  ;  and  for  the  ellipsis  of  the  sub- 
ject in  7i'.;j  conrertcd,  Gr.  400. 

159.  Restored.     Heing  restored;  or  "were"  may  be  understood  (Gr. 
403).     For  them  the  folios  have  "him  ;"  corrected  by  Rowe. 

160.  ExiTd.     S.  puts  the  accent  on  either  syllable.     Cf.  K.  and  J.  iii. 
2.  133  and  Macb.  v.  8.  66.     See  Gr.  490  ;  and  for  to  be  true,  Gr.  354. 

161.  Engage.     Pledge.     Cf.  I  Hen.  II'.  ii.  4.  563  :   "  I  will  engage  my 
word  to  thee  ;"  J.  C.  ii.  I.  127 :   "  honesty  to  honesty  engaged,''  etc. 

162.  Offer* st  fairly.     Makest  a  goodly  offering  or  contribution. 

163.  To  the  other.     Through  his  marriage  with  Rosalind. 

164.  At  large.     "In  its  length  and  breadth"  (M.) ;  or  "on  a  large 
scale  "  (Schmidt).     Cf.  T.  and  C.  i.  3.  346  : 

"Tlie  baby  figure  of  the  plant  mass 
Of  tilings  to  come  at  large." 

165.  Do  those  ends,  etc.     Finish  up  the  work  so  well  begun. 

167.  After.     Afterwards  ;  as  in  Temp.  ii.  2.  10 :  "And  after  bite  me," 
etc. 

For  er'fry,  cf.  A.  and  C.  \.  2.  38  :  "every  of  your  wishes."  Wr.  quotes 
Hacon,  Essay  xv.  :  "  For  the  Motions  of  the  greatest  persons,  in  a  Gov- 
ernment, ought  to  be,  as  the  Motions  of  the  Planets,  vnder  Prinnim  iMo- 
bile ;  (according  to  the  old  Opinion:)  which  h,  That  Every  of  them,  is 
carried  swiftly,  by  the  Highest  Motion,  and  softly  in  their  owne  Motion." 
It  is  curious  that '.  ivery  is  the  only  one  of  these  so-called  "adjective  pro- 
nouns" which  we  do  not  now  use  in  this  way.  '\Yc  can  say  "any  of 
them,"  "each  of  them,"  etc.,  but  not  "every  of  them." 

1 68.  S// >•<-.*/.     Evil.     Cf. //<•//. /'///.  v.  3!  178:  "a  shrewd  turn"  (that 
is,  an  ill  turn)  ;  and  see  M<->-.  p.  151  or  J.  C.  p.  145. 

I/O.  S/iiti-s.     Estates  ;   but  not  to  be  printed  "'states,"  as  W.  gives  it 


ACT  V.     EPILOGUE.  20 1 

Cf.  M.  of  V.  iii.  2.  262  :  "my  state  was  nothing ;"  i  Hen.  IV.  iv.  i.  46 : 
"  the  exact  wealth  of  all  our  states,"  etc.  On  the  other  hand,  estate  was 
sometimes  =  state,  condition  ;  as  in  M.  of  V.  iii.  2.  239:  "his  letter  there 
Will  show  you  his  estate,"  etc.  Cf.  Gen.  xliii.  7,  Ps.  cxxxvi.  23,  etc. 

171.  Nao~J[allen.  Cf.  I  Hen.  IV.  v.  I.  44  :  "your  new-fallen  right." 
For_/W/=befall,  see  A.  and  C.  iii.  7.  40:  "  no  disgrace  shall  fall  you,"  etc. 

174.  Measures.     See  on  43  above. 

175.  By  your  patience.     With  your  permission.     Cf.  lien.  V.  iii.  6.  31, 
Cor.  i.  3.  81,  etc.     So  "  with  your  patience ;"  as  in  I  Hen.  VI.  ii.  3.  78,  etc. 

177.  Pompons.  Full  of  pomp,  splendid  Cf.  Kick.  II.  iv.  i.  250  :  "the 
pompous  body  of  a  king;"  Per.  iii.  prol.  4:  "this  most  pompous  mar- 
riage-feast." It  now  carries  with  it  the  idea  of  ostentatious  display. 

179.  Convertites.     Converts;   a  word  not  used  by  S.     Cf.  A'.  John,  v. 
I.  19  :  "  a  gentle  convertite  ;"  and  K.  of  L.  743  :  "  a  heavy  convcrtite." 

180.  Matter.     See  on  ii.  i.  68  above. 

181.  You  to  your  former  liouour,  etc.     That  is,  bequeath  your  former 
honour  to  you.     Schmidt  (p.  1424)  gives  many  examples  of  this  inversion 
of  ideas  in  S.     Cf.  Much  Ado,  v.  i.  282  :  "  Impose  me  to  what  penance  ;" 
Rich.  II.  iv.  i.  106 :   "  Till  we  assign  you  to  your  days  of  trial ;"  Macb.  v. 
8.  49  :  "  I  would  not  wish  them  to  a  fairer  death,"  etc. 

182.  Deserves.      For  the  singular,  see  Gr.  336. 

193.  Steevens  remarks  that  S.  has  here  forgotten  old  Adam,  "  whose 
fidelity  should  have  entitled  him  to  notice  at  the  end  of  the  piece,  as  wtl! 
as  to  that  happiness  which  he  would  naturally  have  found  in  the  return 
of  fortune  to  his  master."  Lodge,  at  the  end  of  the  novel,  makes  him 
captain  of  the  king's  guard. 

EPILOGUE. 

2.  Unhandsome.     Improper,  unbecoming. 

3.  Good  wine  needs  no  bush.     A  common  proverb.     A  bush  or  tuft  of 
ivy  was  in  olden  time  the  sign  of  a  vintner.     Steevens  quotes  Gascoigne, 
Glass  of  Gwernnient,  1575  :   "  Now  a  days  the  good  wyne  necdeth  none 
ivye  garland."    Wr.  cites  Florio,  Second  Fnites,  p.  185  :  "  W omens  beantv 
...  is  like  vnto  an  luy  bush,  that  cals  men  to  the  tauern,  but  hangs  itselfe 
without  to  wincle  and  wether."    Cotgrave  (/•>-.  Diet.}  has  "  Bouchon  :  m. 
A  stopple  ;  also,  a  wispe  of  strawe,  &c.,  also,  the  bush  of  a  tauerne,  or 
alehouse."     Cf.  also  Chaucer's  description  of  the  Sompnour,  C.  T.  668: 

A  gerlond  liadde  lie  selle  upon  his  hede, 
"As  gret  as  it  were  for  an  alestake." 

7.  Insinuate  with  you.     Ingratiate  myself  with  you.     Cf.   V.  and  A 
1012  :   "With  Death  she  humbly  doth   insinuate;"  and  Rich.  111.  i.  4 
152  :   "he  would  insinuate  with  thce  but  to  make  thee  sigh." 

8.  Furnished.     Dressed.     See  on  iii.  2.  230  above. 

9.  Conjure.     Accented  by  S.  on  either  syllable  without  regard  to  the 
meaning.     See  M.  Ar.  D.  p.  164. 

II.   As  please  you.     As  may  please  you.     See  Gr.  367. 
14.    If  I  were  a  woman.     Caldccott  cites  this  in  support  of  his  opinion 
that  Rosalind  is  still  in  male  apparel  (si;-:  on  v.  4.  109  above)  ;   but  he 


202  ADDENDUM. 

forgets  that  in  the  time  of  S.  women  never  played  in  the  theatres.  See 
M.  N.  D.  p.  134,  note  on  Let  me  not  pltiy  a  iwman.  Wr.  remarks  that 
1'epys  in  his  Diary  has  several  allusions  to  this.  The  following  quota- 
tions are  from  the  new  edition  by  Mr.  Bright  : 

August,  1 8th,  1660.  "Captain  Ferrers  took  me  and  Creed  to  see  the 
Cockpitt  play,  the  first  that  I  have  had  time  to  see  since  my  coming 
from  sea,  'The  Loyall  Subject,'  where  one  Kinaston,*  a  boy,  acted  the 
Duke's  sister,  but  made  the  loveliest  lady  that  ever  I  saw  in  my  life." 

January  3,  1660.  "To  the  Theatre,  where  was  acted  'Beggar's  Bush,' 
it  being  very  well  done ;  and  here  the  first  time  that  ever  1  saw  women 
come  upon  the  stage." 

January  8,  1660/1.  "After  dinner  I  took  my  Lord  Ilinchinbrokc  and 
Mr.  Sidney  to  the  Theatre,  and  shewed  them  'The  Widdow,'  an  indiffer- 
ent good  plav,  but  wronged  by  the  women  being  too  seek  in  their  parts." 

Feb.  12,  1660/1.  "By  water  to  Salsbury  Court  play-house,  where  not 
liking  to  sit,  we  went  out  again,  and  by  coach  to  the  Theatre,  and  there 
saw  'The  Scornfull  Lady,'  now  done  by  a  woman,  which  makes  the  play 
appear  much  better  than  ever  it  did  to  me." 

16.  Liked.     Pleased.     Cf.  Hen.  V.  iii.  prol.  32  :  "  The  offer  likes  not ;" 
Id.  iv.  3.  77  :  "  Which  likes  me  better,"  etc.     Gr.  297. 

17.  Defied.     Slighted,  despised    (Schmidt).     Cf.  K.  John,  iii.  4.  23: 
"  No,  I  defy  all  counsel,  all  redress,"  etc.  ;  also  Spenser,  F.  Q.  ii.  8.  52  : 
"  Foole  !  (sayd  the  Pagan)  I  thy  gift  defye  "  (disdain,  or  refuse) ;  four 
Prentices  of  London  (quoted  by  Nares) : 

"  Vain  pleasures  I  abhor,  all  things  defy, 
That  tench  not  to  despair,  or  how  to  die." 

Cf.  defiance  —  disdain,  rejection  ;  as  in  Af.for  J\f.  iii.  i.  143,  etc. 


AUULNDUM. 


THE  "TIME-ANALYSIS"  OF  THE  PLAY. — This  is  summed  up  by  Mr. 
P.  A.  Daniel  (Trans,  of  AVw  Shaks.  Soc.  1877-79,  P-  l6t)  as  follows  : 

"  The  time  of  this  Play  may  be  taken  as  ten  days  represented  on  the 
stage,  with  such  sufficient  intervals  as  the  reader  may  imagine  for  him- 
self as  requisite  for  the  probability  of  the  plot. 

1.  Act  I.  sc.  i. 

2.  Act  I.  sc.  ii.  and  iii.,  and  Act  II.  sc.  i.     [Act  II.  sc.  iii.] 


noor  woman  in  ordinary  clothes,  to  please  Morose;  then  in  hue  clothes,  as  a  g; 
and  in  them  was  clearly  the  prettiest  woman  in  the  whole  house:   and  lastly,  as  a  man; 
and  then  likewise  did  appear  the  handsomest  man  in  the  house.         It  was  this  Kynaston 
wlm  once  kept  Charles  II.  waiting  for  a  tragedy  to  begin  "because  the  queen  was  not 
shaved  "     He  lived  until  1712,  and  was  buried  in  St.  Paul's  Church   Covcnt  Garden. 


ADDENDUM. 


203 


3.  Act  II.  sc.  ii.*     [Act  III.sc.  i.] 

An  interval  of  a  few  days.     The  journey  to  Arden. 

4.  Act  II.  sc.  iv. 

5.  Act  II.  sc.  v.,  vi.,  and  vii. 

An  inteival  of  a  few  days — as  the  next  scene  shows. 

6.  Act  III.  sc.  ii. 

An  itittn'til — indefinite.! 

7.  Act  III.  sc.  iii. 

8.  Act  III.  sc.  iv.  and  v.,  Act  IV.,  sc.  i.,  ii.,  and  iii.,  and  Act  V.  sc.  i. 

9.  Act  V.  sc.  ii.  and  iii. 

10.  Act  V.  sc.  iv. 

Two  scenes  of  the  Play — Act  II.  sc.  iii.  and  Act  III.sc.  i. — are  placed, 
within  brackets,  out  of  their  actual  order  in  this  table.  The  first  must 
be  referred  to  day  No.  2,  the  second  to  day  No.  3.  Looking  to  the  time 
of  the  scenes,  they  are  out  of  place  :  the  author  seems  to  have  gone  back 
to  resume  these  threads  of  the  story  which  were  dropped  while  other 
parts  of  the  plot  were  in  hand. 

In  a  mere  narrative  this  is,  of  course,  a  common  practice  ;  I  am  not 
sure  that  I  know  of  any  other  instance  in  a  dramatic  composition." 


*  "An  interval  perhaps  might  be  expected  between  the  day  of  Rosalind's  banish- 
ment and  the  day  (No.  3)  on  which  her  flight  '.s  discovered.  The  Duke  allows  her  ten 
davs  for  preparation  ;  but  she  and  her  companions  would  hardly  delay  so  long,  and  any 
delay  at  all  would  throw  the  scheme  of  time  utterly  out  of  gear.  .  .  I  believe  the  au- 
thor started  them  on  their  journey  on  the  night  ensuing  the  banishment,  and  made  Days 
i,  2,  and  3  consecutive.  In  L&dge'sJRosafynde,  it  may  be  observed,  the  Duke,  who  ban- 
ishes his  daughter  as  well  as  his  niece,  bids  them  depart  the  same  night." 

t  "  During  this  interval  we  may  imagine  the  inhabitants  of  the  forest  '  fleeting  the  time 
carelessly,  as  they  did  in  the  golden  world  :'  the  Duke  and  his  fellows  hunting,  carous- 
ing, and  disputing  with  the  melancholy  Jaques  ;  Orlando  calling  every  day  at  the  Sheep- 
cote,  wooing  his  mistress  under  the  disguise  of  Ganvinede  ;  while  Touchstone  linds  out 
and  courts  Audrey." 


CHARLECOTE    HOUSE    FROM    TIIH    AVON. 


INDEX   OF  WORDS    EXPLAINED 


•  (transposed),  135. 

bear  (play  upon),  158. 

cenr.iire  (-judgment),  184 

a  many,  138. 

beard,  167. 

character  (verb),  170. 

abused   (  =  deceived),   183, 

beholding  (-  beholden),  185. 

chase,  147. 

188. 

bestow  (reflexive!,  11/3. 

cheerly,  162. 

accord  (—consent),  199. 

better,  1  were,  180. 

chid  (past  tense),  190. 

acres  (=tie!ds),  196. 

better  world  (  ^  better  times\ 

chopt.  158. 

action  ^trisyllable),  189 

146. 

cicatrice,  182. 

addressed  (—prepared),  200 

bid  (=bade),  189. 

civil  (—  civilized^.  172. 

adventure.  158. 

bills  (weapons),  143. 

clap  into  't  roundly,  195. 

after  (^afterwards1,  200. 

blood  (=kinship),  157. 

clap  o'  the  shoulder,  185. 

against,  186. 

blood  (  —  passion),  197. 

clubs,  194. 

ages  (of  life),  166. 

blue  eye,  178. 

cods.  159. 

ilack,  189. 

books  for  good  manners,  198. 

combine  (—bind',  200. 

Aliens  (accent),  149. 

bob  (—rap),  164. 

come  in  (  —  intervene),  165 

aiiotery,  137. 

body,  192. 

c<.me  off(=escape',  141. 

along  (  —  at  full  length1),  152, 

boldened,  165. 

comfort,  162. 

176. 

bonnet  (=hat),  178. 

commandment.  165. 

am  remembered,  184. 

bonny.  155. 

commission,  186. 

amaze  (  —  confuse),  143. 

bottom  (valley),  190. 

compact,  162. 

an  (—if),  185. 

bounden,  146. 

compact  (accent),  196. 

an  (—one),  147,  196. 

bounds  of  feed,  160. 

conceit.  162,  194. 

anatomize,  140,  164. 

bow  (=ox-bow),  180. 

condition  (=temper),  146. 

and  (  —  an).  182. 

brave  (  -fine).  181. 

conduct,  in  his  o«n,  200 

and  (  -  and  so*,  165. 

bravery  (     finery),  165. 

conference.  146. 

and  all  at  once,  182. 

Ineather,  177. 

confines  (accent).  152. 

a-night,  158. 

breed  (     bring  up),  136,  165. 

conjure  ^accent),  201. 

answered  (^satisfied),  1^5. 

brief.  192. 

conned,  176 

antique,  152. 

bring  out  (=put  out).  176. 

consent  and  sufFennc?     55 

apart  (     aside),  189. 

broke  (  —  broken*,  158. 

constant  (  =  faithmi>.  iy 

April,  1  86. 

broken  music.  143. 

constant  (  =  unit->rm).  .84 

Arden,  138. 

brotherly  (adverb',  140. 

contents  (accent  •.  1*9. 

argument    (  =  cause),    146, 

brutish  isting\  164. 

contrive  (=plot),  191. 

169. 

buckles  in,  172. 

contriver,  139. 

as  (—  namely),  1^1,  192. 

bugle  'adjective',  183. 

conversed,  194. 

as  (omitted),  155. 

burghers,  152. 

convertites,  zoi. 

aspect.  190. 

bush  (vintner's  sign\  201. 

cony.  177. 

assayed  (—tried),  149. 

but  (--without).  170,  iSi. 

cope,  155. 

at  heart,  145. 

but  erewhile.  160. 

copulatives.  197. 

at  large,  200. 

butchery.  156. 

cote  (     cottage'1,  160. 

Atalanta's  better  part,  172. 

bntterwomen's  rank,  171. 

could,  14^. 

atomies.  175. 

by  (      aside',  176. 

countenance,  136. 

atone  together,  199. 

by  and  by,  192. 

counter,  1^14. 

Audrey,  179. 

>y  your  patience,  201. 

countercheck,  njS. 

coursed.  153. 

handy,  193. 
bankrupt,  154. 

cage  of  rushes.  177. 

courtship  (     court  litV1.  177 

banquet,  if.i. 

capable,  182. 

cover  1      set  the  table),  id; 

Harbarv  cock-pigeon,  iSo. 

caparisoned,  175. 

covered  goblet,  181. 

batiet.  ivS. 

capricious,  170. 

COZ,    141. 

H.iy  of  Portugal.  :SS. 

carlot,  1*4. 

cross  (     pennv\  ivi. 

be  naught  awhile,  i  \f> 

cast  (     cast  off),  ifvi. 

crow  (     laugh"  .  .'.3 

2O6 


INDEX  Or   WORDS  EXPLAINED. 


cry  mercy,  183. 

feeder  (^shepherd*,  160. 

holla,  176. 

curtle-axe,  149. 

fells,  170. 

holy  bread,  iSo. 

curvets,  176. 

female,  193. 

honest  (=chaste),  141,  179 

finish  (intransitive^,  199. 

hose  (-breeches),  158. 

damnable,  194. 

first-born  of  Kgypt,  i«>i. 

housewife,  141. 

dark  (     in  tin-  dark),  182. 

fleet  (transitive),  138. 

huswife,  189. 

dearly  (^heartily),  M7- 
rleep-contemplauve,  163. 

flout,  180. 
flux,  154. 

humorous,  146. 
hurtling,  191. 

'lefied  (     slighted),  202. 

fond  (  —foolish',  155. 

hyen,  187. 

desperate,  196. 

fool.  151. 

device,  140. 

iool  s  bolt,  197. 

ill-favonredly,  141. 

dial  (-watch),  163. 

for  (=as  regards),  192. 

ill-inhabited,  179. 

Diana  in  the  fountain,  186. 

for  (^because),  172. 

impresstire,  182. 

dies  and  lives,  182. 

for  (=for  want  of),  159,  162, 

in  {duplicated),  166. 

disable  (=disparage\  185. 

165. 

in  little,  172. 

dishonest    (  =  immodest  )  , 

forked  heads,  152. 

in  lieu  of,  157. 

11)5. 

foul  (  -plain),  179. 

in  parcels,  184. 

dislimn.  169. 

frail'  st,  182. 

in  that  kind,  142- 

disputable.  161. 

free  (  =  innocent),  165. 

inaccessible,  166. 

diverted  (blood),  157. 

friendly  (adverb),  183. 

incision,  170. 

do  (idiomatic),  143. 

function  (  —  office1,  165. 

incontinent,  194. 

do  him  right,  165. 

furnished,  176. 

inconvenient,  194. 

dole,  143. 

I  ml,  171. 

doublet,  158. 

gamester,  140. 

indented,  191. 

drave,  178. 

Gargantua.  175. 

inland  bred,  165. 

draw  homewards,  192. 

gesture  (  -bearing),  194. 

inquisition,  155. 

ducdame,  161. 

giant-rude,  189. 

insinuate  with,  201. 

duty  (—respect1,  195. 

gilded,  ,«„. 

insomuch,  194. 

go  about,  140. 

instance  (=proof),  170, 

east  (=easteni\  171. 

go  to,  1  86. 

instances,  167. 

eat  (  —  eaten1,  165. 
effigies  (accent),  169. 

goats  (play  upon),  179. 
God  be  wi'  you.  176,  185. 

instrument,  190. 
intendment,  139. 

embossed,  164. 

God  'ield  von,  180. 

Irish  rat,  174. 

en.ulator,  139                               (  Io<l  rest  you  merry,  193. 

irks,  151. 

enforcement,  166.                       God  warn  us,  186. 

it   is   (contemptuous).    13^ 

engage  (     pledge',  200.              God  ye  good  even,  193. 

184. 

entame,  183. 

golden  world,  138. 

envenoms,  756. 

iroldenlv,  136. 

Jaqnes,  152. 

crewhile,  160.  184.                        gondola,  185. 

jars  (     discords\  162. 

erring  (=wandering),  172.         good  leave.  138. 

Jove's  tree,  176. 

estate  (verb),  193.                       good  my  complexion,  175. 

Jndas's  hair,  180. 

Kthinpe.  189.                                 good  my  liege,  147. 

Juno's  swans,  147. 

every  of.  200. 

grace,  183.  194. 

just  (—  just  so),  176. 

exile  (accent).  149. 

graces.  155 

justly,  145. 

exiled  (accent1,  200. 

gracious,  144. 

expediently,  109. 

graft",  171. 

kind  (~nature).  190 

extent.  169. 

gravelled.  iS^. 

kindle  (     incite1.  140. 

extermined.  1X3. 

great  reckoning,  etc.,  179. 

kindled  (.-bornl,  177. 

extreme  Jaccent\  154. 

ground,  176. 

knolled,  if/.. 

extremity,  in,  184. 

grow  upon  me.  137. 

eyne,  iS9. 

lark.  187. 

had  as  lief.  139. 

T.ady  Fortune,  102 

fair  (  —  fair  one),  171. 

had  rather.  158. 

laid  on  with  a  trowel,  i  n 

falcon,  iSo. 

landkercher.  190,  193. 

lay  along,  152. 

fall  to.  if.s.                                      hard-favoured.  17-;. 

learn  (-  teach*.  141. 

falls  (transitive1,  iSi.                   liave  \\iili  you,  14'). 

leer  (-  look).  iSs. 

lalse  gallop.  171.                           laving  (     possession),  178. 

lief,  139 

fancy  (     love>.  iSj,  200.             he  1     man).  178. 

like  (     had  like),  107. 

fancy-monger,  177.                      headed.  1^4. 

like  (     likelv),  141. 

fantasy!      love1,  ii;S.                 '  heart    play  upon*,  170. 

liked  (=;  pleased  ,  202 

fashion  sake,  i;<>                           him  i      he  whom'.  13^1. 

limned.  io<^. 

favour!    -face,  141,  K/O               limls  (     vt-rvants).  137. 

lined.  171. 

feature,  17.,.                               •  his  I     its',  if.x 

live  i'  the  sun,  to,  161. 

INDEX  OF  WORDS  EXPLAINED. 


207 


lively  (^lifelike),  196. 
liver,  179. 

observance,  176,  195. 
Od's  my  little  life,  183. 

question  (talk),  178,  181. 
quintain,  14;. 

living  (---real1,  178. 

Od's  my  will,  189. 

quintessence,  172. 

look  (  =  look  for),  161. 

of  (-by),  154,  177.  185 

quip,  197. 

loose  (  -  let  fall',  184. 

of  (-in),  192. 

quit  (reflexive),  169. 

lover  (feminine),  181,  194. 

of  might,  183. 

quotidian,  177. 

!ow  (of  stature),  190. 

of  (with  verbals*,  158. 

lusty,  184,  188. 

offer's!  fairly,  200. 

ragged  (-  rough),  160. 

on,  136,  162,  165. 

railed  on,  162. 

make  (=do\  136,  155,  175. 

on  my  life,  140. 

rank  (play  upon),  143. 

make  (  —  earn),  190. 

on  such  a  sudden,  146. 

ranker,  186. 

make  even,  196. 

only  (transposed),  144,  195. 

rankness,  138. 

make  the  doors,  186. 

out  (=  at  a  loss),  186. 

rascal,  179. 

manage  (noun),  136. 

out  of  suits,  145. 

raw  (^-green1,  171. 

manners  (play  upon),  170. 

outface  it,  149. 

reason  of,  142. 

mannish,  149. 

recks,  159. 

marry,  136. 

pageant,  181. 

recountments,  192. 

material,  179. 

painted  cloth,  176. 

recovered,  192. 

matter  (     sense),  155. 

pantaloon,  167. 

religious,  177. 

May,  1  86. 

parlous,  170. 

remembered,  168. 

measure  (-dance),  197. 

parts  (-gifts),  155. 

remorse  (=pity),  147. 

medlar,  171. 

passing  (adverb),  184. 

removed  (retired),  177 

memory  (—memorial',  155. 

pathetical,  1X7. 

render  (     describe',  191. 

merely,  179. 

patience  (trisyllable),  148. 

render  (:=give  back),  141, 

mettle,  165. 

peascod,  159. 

resolve  (     solve1,  176. 

mewling,  167. 

peevish  (  ;  silly),  184. 

rest  (  —  remain),  146. 

might  (     may),  144. 

perforce,  141. 

right  (=downnght}|  171. 

mines,  136. 

perpend,  170. 

ring  lime,  196. 

misconsters,  146. 

persever,  193. 

ripe  (  —  mature),  190. 

misprised,  140. 

petitionary,  175. 

ripe  (verb),  163. 

misused,  187. 

Phebes  (verb),  189. 

roynish,  155. 

modern  (=^triviai),  167,  185. 

phrcnix,  189. 

moe,  176. 

physic  (verb1),  138. 

sad  (=serious),  175. 

moonish,  178. 

pick-purse,  181. 

sale-work,  183. 

moral  (verb),  163. 

place,  156,  163. 

sans.  163. 

moralize,  154- 

point  device,  178. 

sauce,  1X3. 

more  sounder,  170. 

poke  (     pocket),  163. 

saws  (—maxims),  167,  183, 

mortal  (=very>,  159.                   politic,  185. 

scape,  171. 

motley,  162. 

pompous,  201. 

school  (     university',  136. 

music  (broken),  143.                   poverty  i  concrete).  147. 

scrip,  173. 

mutiny,  136.                                 power  (army),  200. 

see  (—perceive),  144. 

mutton  (-sheep),  170.             •  practices  (-plots),  156. 

seeming  (adverb),  197. 

m>  sell"  alone,  176.                        practise  (intransitive),  140. 

se'nnight,  177. 

presentation.  199. 

senseless,  164. 

napkin    (   =  handkerchief),     presently,  162. 

sentence  end,  172. 

190.                                            priser,  155. 

sequestered.  152. 

native.  177.                                   private  (  -  lonely),  170. 

seven  ages  of  life,  166. 

natural  (  =  fool>,  142.                   private  (---particular),  164. 

shadow,  1X8. 

natural  (  ---  legitimate),  139.        profit  (     proficiency*,  130. 

shall  (=must),  13.,. 

naught,  136,  142,  170.                   promotion    (quadrisyllable) 

shame  (intransitive),  i<j2. 

necessary,  179. 

'57- 

she  (  =  wcman),  170. 

'54- 

propercr,  iS}. 

sliouldst  (=wouldst\  14;;. 

new-fallen,  201. 

provide  (reflexive),  14^. 

show  (--  appear),  14!-;. 

new  tangled,  iSo. 

puisny,  i  Si. 

shrewd  {-  evil),  200. 

nice  (-affected).  1X5. 

purchase  (  —  get),  177. 

simples,  1X5. 

nine  days'  wonder,  173. 

pure.  141. 

simply  (     indeed),  178,  1X7 

nor  nniiL-.  141  . 

purgation,  147. 

Sir.  i  So. 

nuptial,  i.,4- 

purlieus  i.jo. 

sirrah,  i.|2. 

nurture  (     culture',  165. 

put  onus,   143. 

smother  (noun),  14'. 

1'ythagoras,  174. 

snake.  K,O. 

0  sweet  Oliver.  iS,,. 

so  (omitted1,  i  (3. 

obscured  (     hidden).  i</>. 

quail,  155. 

to  pk-ase  you.  13*.  144.  ii>.> 

208 


lA'DEX  OF  WORDS  EXPLAINED. 


solemn  (=eanesl),  158. 

tapster  (the  word  of  a),  181. 

villain,  137. 

some,  78. 

StMlth      178. 

tax  (  -censure),  164,  177. 

voice,  in  my,  160. 

sorts  (Cranks).  140. 

tempered,  141.                             ware  (=aware),  159. 

south  (  —  south  wind",  183. 

tender  dearly,  194.                    i  warp,  168. 

South  Sea  of  discovery,  175. 

thither  (^thereto1,  140.            was  (=has  been),  i8cv 

speed  (  —  patron),  144. 

thought    (—  melancholy),     waste  (     spend),  160. 

spheres  (music  of),  162. 

1  88. 

weak  (proleptic),  166. 

spleen  (--caprice),  188. 

thrasonical,  193.                         wear  (     dress),  165 

squander,  164. 

thrice-crowned,  169.                   wearing  (-  wearying),  \$£ 

stagger  (  —  waver),  179. 

thrifty  Iproleptic),  157.               wjll  breathed,  145. 

stalking-horse,  199. 

to  (—with  regard  to1,  191.          well  said,  162. 

stand  with,  160. 

toad-stone,  151.                           wert  b'-st,  thou,  140. 

slanzo,  160. 

too  late  a  week,  157.                   what,  139,  160,  181. 

states  (-estates),  200. 

touches  173.                                wherein,  144,  175. 

stay  (—wait  t"or>,  175. 

toward  I  -at  hand1.  11)7.             while,  the,  161. 

stavs  (     detains),  i  y>,  147. 

traverse  (     crosswise  ,  181.        whiles  166,  190. 

still  (-constantly),  145,  170. 

treasure  (     enrich!,  155.            whooping,  175. 

still  music,  up). 

troth,  by  my,  142.                        wide-enlarged,  172. 

sting,  164. 

trow,  174.                                         wind  (     wend),  iSo. 

stir  I     excite',  149. 

turn  (a  note).  160.                         Winter's  sisterhood,  iSi. 

straight  (adverb),  184. 

turn  him  going,  169.                   wiser  (adverb).  159. 

subject  (accent),  156. 

turn  1     return),  169.                    wit,  whither  wilt  ?   142,187 

successfully,  144. 

turned  into,  189.                          with  (     tor),  147. 

sudden  (   -passionate),  167. 

with  (=from',  175. 

suddenly,  155. 

unbasliful,  157. 

withal,  139. 

sufficed,  1  66. 

uncouth,  162. 

woman  of  the  world,  195. 

suit   me  (  —  dress   myself  ), 

(inexpressive,  170. 

woo  (—gain  over),  149. 

149. 

ungentleness,  194. 

working,  144. 

suit  (play  upon),  163. 

unhandsome,  201. 

working-day  (adjective),  146 

sure  (=surely',  182. 

unkind,  168. 

world   hyperbolical*,  168. 

sure  (  =  united),  199. 

unquestionable,  178. 

world  I—  times),  146. 

swaggerer,  189. 

untreasured,  1=5. 

worms'  -meat.  170. 

swashing,  149. 

unto,  145. 

wrath  (=^ardor',  194. 

sweat  (past  tense),  157. 

untuneable,  i</i. 

wrestler  (spelling),  138. 

swift  (  -  ready),  197. 

up  (intensive),  155. 

wrestler  (trisyllable1,  155. 

sworn,  185. 

upon,  159,  1  66. 

swore  brothers,  199. 

use,  156. 

year  (plural),  177,  194. 

synod,  173. 

yond,  159. 

vein.  165. 

you  (expletive).  171. 

ta'en  up  (  -made  up),  197. 

velvet,  154. 

you  (reflexive),  137. 

take  a  good  heait,  192. 

vengeance,  189. 

young,  1.^7. 

take  no  scorn,  iSS. 

verity,  iSi.                                ,  your  (colloquial),  180. 

Hedrick  Hall, 

Library  DATE   DUE 


MAY  2 
APR  1  9 


F 


A    001  425085    6 


PR 
2803 


HEDRICK  HALL  LIBRARY 


